“¿Yo, arte de composiciones, reglas, caracteres, cifras?”: Retórica musical en Madre, la de los primores (1689) de Sor Juana Inés de la Cruz
Sor Juana Inés de la Cruz (1648-1695) is one of the most important figures of the seventeenth century in New Spain. Her life, intimately related to music as reflected in her written work, shows a knowledge of the practical aspects of the music of her time: notation, composition, solmization and the...
| Autor: | |
|---|---|
| Formato: | artículo |
| Fecha de publicación: | 2025 |
| País: | España |
| Recursos: | Universidad de Castilla-La Mancha |
| Repositorio: | RUIdeRA. Repositorio Institucional de la UCLM |
| OAI Identifier: | oai:ruidera.uclm.es:10578/45046 |
| Acesso em linha: | https://doi.org/10.18239/invesmusic. https://revista.uclm.es/index.php/cuadernosdeinvestigacionmusical/article/view/3448 https://hdl.handle.net/10578/45046 |
| Access Level: | acceso abierto |
| Palavra-chave: | sor Juana Inés de la Cruz Retórica Música del siglo XVII Solmización Música novohispana Rhetoric 17th century music Solmization Music in New Spain |
| Resumo: | Sor Juana Inés de la Cruz (1648-1695) is one of the most important figures of the seventeenth century in New Spain. Her life, intimately related to music as reflected in her written work, shows a knowledge of the practical aspects of the music of her time: notation, composition, solmization and the Pythagorean tradition. Among the masters known to the Mexican nun were Lorente, Ramos de Pareja, Salinas, Zarlino, Cerone and Kircher, among others. Sor Juana wrote a now lost treatise, El Caracol, in which she attempted to simplify the harmonic system of the time. This article reviews the musical aspects contained in her texts and carries out a rhetorical-musical analysis of her only surviving work, Madre, la de los primores, attributed to her and preserved in Guatemala. |
|---|