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2. www.tandfonline.com › doi › fullHildegard von Bingen, Tudor Visionary - Taylor & Francis Online

   www.tandfonline.com › doi › full

   Apr 21, 2024 · Throughout the Middle Ages, English audiences cited Hildegard’s prophecies in anthologized formats for their antipapal, antimendicant, and pro-disendowment positions, and this article demonstrates that they continued to do so straight through the Reformation.

3. assets.cambridge.org › 97811070 › 76662Int ro duc t ion: O virga ac diadema historiography of a song

   assets.cambridge.org › 97811070 › 76662

   In the late 1990s, for example, when I presented a paper about recordings of Hildegard’s music, the session chair admitted that her organization “always gets nervous when we receive Hildegard proposals.”

4. www.academia.edu › 619030 › Hildegard_of_BingenHildegard of Bingen: Visions and Validation (1985) - Academia.edu

   www.academia.edu › 619030 › Hildegard_of_Bingen

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   This essay will examine Hildegard von Bingen, the woman and the nun (1098-1179) born in Böckelheim, West Franconia, Rhineland, Germany (Newman, 1989). It asks one fundamental question, did Hildegard's religious writings give her unique authority in a masculine world?

5. www.academia.edu › 7152505 › Hildegard_von_Bingen(PDF) Hildegard von Bingen, the Late, Great, One and Only ...

   www.academia.edu › 7152505 › Hildegard_von_Bingen

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   Hildegard von Bingen (1098-1179) was an incredible woman, and a true pioneer in a myriad of fields. Known as the "Sybil of the Rhine," she was able to transcend the limitations on her sex during the Middle Ages through her visionary works of Christian theology, medicine, and most importantly, music.

   • Author: Jordan Alexander Key

6. www.jstor.org › stable › 40607031Hildegard, Hermannus, and Late Chant Style - JSTOR

   www.jstor.org › stable › 40607031

   Hildegard, Hermannus, and Late Chant Style Jennifer Bain Abstract The music of Hildegard of Bingen (1098-1179) has often been described as standing outside medieval chant traditions. This article argues that although many features of her music deviate from early

7. www.academia.edu › Documents › inHildegard of Bingen Research Papers - Academia.edu

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   “Genre and Hildegard of Bingen’s Ordo virtutum.” The Ordo Virtutum, Hildegard von Bingen’s twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo’s expansive duration set it apart from... more.

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   What are Hildegard's writings about music?

   • Hildegard’s writings about music are considered, in terms of crossover of musical texts and themes within her output as well as her intertextual use of other sources, including biblical passages and Boethius’ De Institutione Musica.

   Music, Liturgy, and Intertextuality in Hildegard of Bingen’s Chant

   www.cambridge.org/core/books/cambridge-companion-to-hildegard-of-bingen/music-liturgy-and-intertextuality-in-hildegard-of-bingens-chant-repertory/5BA21FD7FFB8FFA20B26FD080C59FB47

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   How many Hildegard von Bingen are there?

   • The end of the 20th century marks an interesting position for the study of Hildegard and her contemporaries, particularly Hermannus Contractus. It is, in fact, within the past year that we have celebrated the millennial birthday of Hermannus Contractus. The past twenty years have 38 Hildegard von Bingen.

   (PDF) Hildegard von Bingen, the Late, Great, One and Only

   www.academia.edu/7152505/Hildegard_von_Bingen_the_Late_Great_One_and_Only_Making_the_Case_against_Modern_Hildegard_Scholarship_Questioning_Originality_in_Hildegard_von_Bingen_and_Her_Musical_Output

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   Is Hildegard a scholarly subject?

   • It is difficult to find much extensive scholarly musical research on Hildegard before this time. Beginning in the 1990‟s and escalating into the early 21st century, the popularity of Hildegard as a subject for scholarly musical research rose and her inclusion in academic texts for use in classrooms increased equally.

   (PDF) Hildegard von Bingen, the Late, Great, One and Only

   www.academia.edu/7152505/Hildegard_von_Bingen_the_Late_Great_One_and_Only_Making_the_Case_against_Modern_Hildegard_Scholarship_Questioning_Originality_in_Hildegard_von_Bingen_and_Her_Musical_Output

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   Who was Hildegard of Bingen?

   • For Hildegard of Bingen, one of the few medieval composers whose plainchants are firmly attributable, this was no exception. This chapter contextualizes the use of her musical compositions in medieval liturgical practice and establishes their interconnectedness with her own works and those of others.

   Music, Liturgy, and Intertextuality in Hildegard of Bingen’s Chant

   www.cambridge.org/core/books/cambridge-companion-to-hildegard-of-bingen/music-liturgy-and-intertextuality-in-hildegard-of-bingens-chant-repertory/5BA21FD7FFB8FFA20B26FD080C59FB47

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   Are there parallels between Hildegard's and Hermannus's music?

   • parallels between Hildegard's and Hermannus's music, both of us having worked on Hildegard's output before 6 Translation mine: "d'autres compositions du même becoming pays aware of Hermannus's music through David Hiley's appartenant aussi au Xle ou work on it (Hiley 1999, 2002; Hiley and Berschin au Xlle siècle."

   Hildegard, Hermannus, and Late Chant Style

   www.jstor.org/stable/40607031

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   Why did Hildegard become a famous composer?

   • Little credence was given to her as a composer or musician. It was in the 1990‟s that studies in Hildegard‟s music and new recordings of her music in response to these studies began to surface and make her a more prominent and seriously considered figure in the history of Western Music.

   (PDF) Hildegard von Bingen, the Late, Great, One and Only

   www.academia.edu/7152505/Hildegard_von_Bingen_the_Late_Great_One_and_Only_Making_the_Case_against_Modern_Hildegard_Scholarship_Questioning_Originality_in_Hildegard_von_Bingen_and_Her_Musical_Output

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9. www.cambridge.org › core › booksChapter 10 - Music, Liturgy, and Intertextuality in Hildegard ...

   www.cambridge.org › core › books

   Hildegard’s writings about music are considered, in terms of crossover of musical texts and themes within her output as well as her intertextual use of other sources, including biblical passages and Boethius’ De Institutione Musica.