Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0007
H. Meconi
{"title":"Aftermath","authors":"H. Meconi","doi":"10.5622/illinois/9780252033155.003.0007","DOIUrl":"https://doi.org/10.5622/illinois/9780252033155.003.0007","url":null,"abstract":"Hildegard’s reception, musical and otherwise, is traced in this chapter. After her death, Theoderic of Echternach completed her Vita, and possibly a series of Eight Readings for her feast day. Gebeno of Eberbach excerpted her works in the Pentachronon, and official canonization procedures began in 1228 (though the process concluded only in 2012, followed by Hildegard’s recognition as a Doctor of the Church). Rupertsberg was destroyed in 1632 and Eibingen dissolved in the early nineteenth century; the Abtei Sankt Hildegard was created in the early twentieth century. Revival of the music began in the mid-nineteenth century, with the first complete edition published in 1969. But only in 1982, with recordings from Sequentia and Gothic Voices, did Hildegard’s music really begin to reach a broad audience.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125097338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/ILLINOIS/9780252033155.003.0008
H. Meconi
{"title":"Hildegard’s Music: An Overview","authors":"H. Meconi","doi":"10.5622/ILLINOIS/9780252033155.003.0008","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252033155.003.0008","url":null,"abstract":"This chapter provides an overview of Hildegard’s music, beginning with an examination of the way in which musical ideas and imagery pervade all of her writings. A discussion of the Dendermonde and Riesencodex collections of her music is followed by a summary of stylistic traits, including characteristics of her poetry (e.g. fascination with viriditas), her choice of subject matter, the use of models, melodic practices, fondness for melisma, and extremes of length and range in selected works. The chapter concludes with her conception of mode and use of accidentals. Throughout comparisons are made with both traditional plainchant (which Hildegard’s music resembles only imperfectly) and contemporary regional practice (which her music does reflect).","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130364183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0005
H. Meconi
{"title":"Expansion","authors":"H. Meconi","doi":"10.5622/illinois/9780252033155.003.0005","DOIUrl":"https://doi.org/10.5622/illinois/9780252033155.003.0005","url":null,"abstract":"The expansion of Hildegard’s world and influence is the subject of this chapter. It describes the numerous preaching tours she undertook and her close relationship with Trier, with special attention given to her so-called hymn Mathias sanctus, written for the monastery of St. Eucharius. Also discussed are Hildegard’s connection to Holy Roman Emperor Frederick Barbarossa, her theological treatise Liber vite meritorum, her connection with the community at Eibingen, her Explanation of the Athanasian Creed, and the numerous exorcisms she performed. The vitae she wrote for St. Disibod and St. Rupert, and the music composed in their honor (especially the sequence O ierusalem, the antiphon O beata infantia, and the responsory O felix anima), are treated as well.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131831710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0004
H. Meconi
{"title":"New Creations","authors":"H. Meconi","doi":"10.5622/illinois/9780252033155.003.0004","DOIUrl":"https://doi.org/10.5622/illinois/9780252033155.003.0004","url":null,"abstract":"In this chapter Hildegard’s presumed output before Liber vite meritorum is discussed, including Scivias, her correspondence, Physica, Cause et cure, the Lingua ignota and Litterae ignotae, the Gospel homilies, commentary on the Benedictine Rule, and her musical collection Symphonia armonie celestium revelationum. The structure of Scivias, its illuminations, and the musically important closing concert, with its song texts and short version of Ordo virtutum, are emphasized. The nature and genesis of the Symphonia is examined, and its differing structure in the Dendermonde and Riesencodex is laid out and explained. The significance of the 1150s for Hildegard’s activity closes the chapter.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126184811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0006
H. Meconi
{"title":"After Volmar","authors":"H. Meconi","doi":"10.5622/illinois/9780252033155.003.0006","DOIUrl":"https://doi.org/10.5622/illinois/9780252033155.003.0006","url":null,"abstract":"This chapter covers Hildegard’s turbulent last years. Her last theological treatise, Liber divinorum operum, was completed after Volmar died; his replacement, Gottfried of Disibodenberg, began Hildegard’s Vita but died before completing it. The monk Guibert of Gembloux transmitted the questions that generated her Solutiones triginta octo quaestionum and solicited an important description of the nature of Hildegard’s visions. The Dendermonde manuscript including her music was sent to the monks of Villers Abbey, and the Riesencodex (also with her music) was begun. Her community was placed under interdict for burying a supposed excommunicate in sacred ground, and Hildegard’s subsequent “Letter to the Prelates of Mainz” includes her most powerful statement about the importance of music. The chapter closes with a description of the heavenly lights that followed her burial.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117284029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/ILLINOIS/9780252033155.003.0009
H. Meconi
{"title":"Liturgy and Shorter Genres","authors":"H. Meconi","doi":"10.5622/ILLINOIS/9780252033155.003.0009","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252033155.003.0009","url":null,"abstract":"The chapter opens with an overview of monastic liturgy in Hildegard’s time, providing an explanation of the Temporale and Sanctorale, Proper and Ordinary texts, the eight daily Offices, and composed chant versus liturgical recitative. Hildegard’s works are then placed in the context of the liturgical year, with anomalies indicated. A survey of the genres she used is followed by discussion of her shorter works: the Kyrie, her forty-three antiphons (with special attention to O tu illustrata), and the eighteen responsories. The norms for each genre are described, including formal expectations, and the ways in which Hildegard’s compositions meet or differ from these norms is indicated.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125328586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0010
H. Meconi
{"title":"Longer Genres","authors":"H. Meconi","doi":"10.5622/illinois/9780252033155.003.0010","DOIUrl":"https://doi.org/10.5622/illinois/9780252033155.003.0010","url":null,"abstract":"The concluding chapter examines Hildegard’s longer genres. It begins with her single alleluia and then moves to the seven works called sequences. Special attention is paid to their formal structures and their often idiosyncratic treatment of generic norms, while the sequence for St. Disibod, O presul vere civitatis, is examined closely. Hildegard’s four hymns come next, with a demonstration of the ways in which the problematic Mathias sanctus shares characteristics with the other works called hymns. The unusual genre of “symphonia” is discussed, with an enumeration of the differences between Hildegard’s symphonia for virgins and her one for widows. After treatment of the unassigned song O viridissima virga, the chapter concludes with a synopsis of the song’s function.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"315 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121595666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0001
H. Meconi
{"title":"Before Rupertsberg","authors":"H. Meconi","doi":"10.5622/illinois/9780252033155.003.0001","DOIUrl":"https://doi.org/10.5622/illinois/9780252033155.003.0001","url":null,"abstract":"This chapter introduces composer Hildegard of Bingen (1098-1179), a polymath visionary who was the most prolific composer of plainchant and creator of the first musical “morality play.” It traces her enclosure at the Disibodenberg monastery with the pious Jutta of Sponheim at the age of twelve, her leadership of a community of Benedictine nuns, the startling vision that compelled her to begin documenting her visions when she was forty-two in her book Scivias, and interactions with her confessor Volmar, St. Bernard of Clairvaux, and Pope Eugenius III. Another important vision instructed her to leave Disibodenberg with her nuns and create a new community at Rupertsberg, on the Rhine River across from Bingen.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126388721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hildegard of BingenPub Date : 2018-10-01DOI: 10.5622/ILLINOIS/9780252033155.003.0002
H. Meconi
{"title":"A New Life","authors":"H. Meconi","doi":"10.5622/ILLINOIS/9780252033155.003.0002","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252033155.003.0002","url":null,"abstract":"The chapter compares Hildegard’s new life at Rupertsberg with her previous time at Disibodenberg, with emphasis on the Opus dei component of monastic life, the limited opportunities for musical performance while at Disibodenberg, and her newfound freedom at Rupertsberg. It examines music possibly used in connection with the rededication of the Rupertsberg church, including O orzchis ecclesia and the musical play Ordo virtutum (The Play of the Virtues). It discusses the play’s plot and structure; musical characterization; performing forces; the range, length, and mode of individual parts (including Victory and Chastity); costuming possibilities; Hildegard’s likely role as Humility; possible reasons for the play’s genesis; and Hildegard’s ongoing interest in the virtues, especially in Scivias.","PeriodicalId":225966,"journal":{"name":"Hildegard of Bingen","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128407036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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