Only fear grew inside my body’: Ethics, femicide and compositional strategies in Hilda Paredes’ La tierra de la miel
Abstract
This paper explores these questions through the analysis of the chamber opera La tierra de la miel (2013) by the Mexican composer Hilda Paredes (b. 1957). In this work, Paredes tells the story of indigenous Mexican women victims of a human trafficking network between Mexico and the United States. In particular, she explores the representation of the rape and murder of one of these women through the destruction of language in music performance. As with the body of the woman, the language is destroyed and fragments are distributed among the singer and members of the music ensemble. Looking for a dramatic expression of abuse and human exploitation with the inability to voice their trauma, Paredes explores the capacity of sound to tackle death and violence endured by these women. Based on several interviews with Hilda Paredes and music analyses of La tierra de la miel, this paper examines Paredes’ compositional strategies and ethical concerns when she started to compose this work. I study the ethical implications of 1) composing music on such an extreme topic; 2) giving voice to often invisible victims of violence, and 3) listening to these voices. Finally, I conclude with a reflection on how composing and discussing music can enable critical thought and raise awareness about current violations of human rights.
Date Issued
2021-10-06
Publication Type
Conference Item
Language(s)
en
Additional Credits
Publisher
Music and Philosophy Study Group (MPSG), Royal Musical Association
Title of Event
Access(Rights)
metadata.only