Summary

The Tribunal of the Holy Office of the Inquisition of Mexico City was in between 1569 and 1820. Its task was to regulate the moral life of the society of New Spain and it was authorized to punish offenders. The crimes that were usually persecuted were acts against the Catholic faith (heresy, blasphemy, sorcery, and idolatry) or against accepted morality (indecency, bigamy, sexual harassment, homosexuality, and sedition).

The Court placed limited attention to the sones de la tierra (sounds of the land) from 1766 to 1819. The sones were sung dances that were eventually considered unsuitable and were denounced for various reasons: the lyrics of the songs contained vulgar words or heretical or blasphemous concepts, the steps of dances were indecent, the choreography implied actions that parodied known acts of the Christian liturgy, or by some combination of these factors.

The archive of the Inquisition of Mexico is practically the only source of information on music and street poetry in the cities and towns of the colony.

The sones de la tierra are the origin of the current cultural music genre called son mexicano, the most significant part of the traditional music and poetry of the country.

The sones de la tierra of the Baroque period and the current Mexican sones have three basic elements: music, poetry, and choreography. The music is based on recurrent rhythmic-harmonic patterns (ostinato) on which instrumental or vocal improvisations are made. Each determined pattern generates a son with a specific name. Thus, it is possible to speak of sones typical of the Baroque period (chacona, zarabanda, chuchumbé, and saraguandingo) or in present-day Mexico (bamba, maracumbé, petenera, and oaxacado). Some can be documented both in the 18th century and in the 21st century (matachines, fandango, panaderos, and zacamandú).

The poetry of the sones is based on the active principle of the copla, a poetic form based on the octosyllabic quatrain in various modalities (seguidilla and décima). The current Mexican variants are directly related to the Spanish poetry of the Golden Age.

The dance of the sones is performed mainly in couples who dance without having physical contact, using different steps whose main characteristic is the zapateado.

The archive of the Inquisition of Mexico mentions some sixty sones. The complaints and interrogations of the Court provide information about the sung lyrics, the ways of dancing, the people who practiced them, their geographical distribution, and some social attitudes regarding their use. This information shows that the sones de la tierra were common throughout the territory of New Spain and were practiced by people of almost all social classes.

The study of the sones de la tierra allows us to understand the existence and behavior of the different variants of the Mexican sones of today, which represent one of the fundamental elements of Mexican culture.