Prodigy, poet, dramaturge, scientist, theologian, apologist, Juana Ines Ramirez de Asbaje was born on the family ranch in Nepantla, near Mexico City, and served at the viceroy's court until she entered a convent at the age of 19. Scholarly research has mushroomed to the extent that a recently published bibliography filled 31 journal pages (Ortiz 2003). The omnipresence of her image, together with the elusiveness of her biographical details and lacunae in her works, causes her to represent and simultaneously to deny any interpretation that any reader/ viewer may wish to concoct. One wonders how long it will be before her portrait appears on soccer balls. Her portrait dominates the 200-peso note, invading even the domain of Mammon the low-denomination note (roughly equivalent to the American twenty-dollar bill) emerges hundreds of thousands of times daily in transactions at supermarkets, auto parts stores, vending machines-for football tickets, wedding rings, drug deals, nanny wages. Websites dedicated to her proliferate-a recent search on the terms 'Sor Juana' produced 63,900 results. Her former convent is now a liberal arts university and culinary school. In the past three decades, she has become the patron (un)saint of feminists, poets, schoolgirls, Hispanists, psychology professors, not only in her own country, but on college campuses around the world. Sor Juana Ines de la Cruz (Mexico City, 1648-1695) has become a pop culture icon in Mexico, on the level of Joan of Arc in France or Marilyn Monroe in the United States-an image at once ubiquitous and mysterious, familiar yet inscrutable. En este ensayo, explico los asuntos que plantea Sor Juana en sus obras, y lo situo en su contexto historico y musical. Compuso un tratado titulado El caracol, en el cual procura simplificar el sistema de la escritura musical como se practicaba en la epoca. Los consejos y exhortaciones del prelado Santa Cruz y los del padre Antonio Nuez, movieron por fin sor Juana Ins entregarse exclusivamente una vida. Lorente, Mersenne, Ronsard, Galilei, Zarlino, Cerone y Kircher habian intentado codificar el sistema de la representacion de las notas musicales, y Sor Juana verso sobre muchos aspectos relativos a la practica de la notacion musical. 1695, Mexico) vivio, escribio, estudio y compuso musica durante una epoca de intensa experimentacion en los aspectos practicos de la musica, sobre todo en lo relativo a armonica, notacion, composicion e instrumentacion, ademas del desarrollo de la opera. In this paper I explain the notational issues that she addressed in all her works, and place them within their historical and musical context. She composed a treatise she called El caracol, seeking to simplify the baffling notational system as it existed in her time. Lorente, Mersenne, Ronsard, Galilei, Zarlino, Cerone and Kircher each had sought to codify the system with which musical notes were represented, and Sor Juana contended with several issues relating to musical notational practice. 1695, Mexico City), lived, wrote, studied and composed during a period in which intense experimentation was underway in the practical aspects of music, concerning harmonics, notation, composition, instrumentation, as well as the burgeoning of the operatic form.
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