Download Free Hildegard Of Bingen And Musical Reception Book in PDF and EPUB Free Download. You can read online Hildegard Of Bingen And Musical Reception and write the review.

Since her death in 1179, Hildegard of Bingen has commanded attention in every century. In this book Jennifer Bain traces the historical reception of Hildegard, focusing particularly on the moment in the modern era when she began to be considered as a composer. Bain examines how the activities of clergy in nineteenth-century Eibingen resulted in increased veneration of Hildegard, an authentication of her relics, and a rediscovery of her music. The book goes on to situate the emergence of Hildegard's music both within the French chant restoration movement driven by Solesmes and the German chant revival supported by Cecilianism, the German movement to reform Church music more generally. Engaging with the complex political and religious environment in German speaking areas, Bain places the more recent Anglophone revival of Hildegard's music in a broader historical perspective and reveals the important intersections amongst local devotion, popular culture, and intellectual activities.
Jennifer Bain contextualizes the revival of Hildegard's music, engaging with intersections amongst local devotion and political, religious, and intellectual activity.
This volume explores the extraordinary life and works of Hildegard of Bingen, medieval writer, composer, visionary, and monastic founder.
In Hildegard of Bingen, Gospel Interpreter, Beverly Mayne Kienzle presents and acquaints readers with Hildegard’s fifty-eight Homilies on the Gospels―a dazzling summa of her theology and the culmination of her visionary insight and scriptural knowledge. Part one probes how a twelfth-century woman became the only known female Gospel interpreter of the Middle Ages. It includes an examination of Hildegard’s epistemology―how she received her basic theological education and how she extended her knowledge through divine revelations and intellectual exchange with her monastic network. Part two expounds on several of Hildegard’s homilies, elucidating the theological brilliance that emanates from the creative exegesis she shapes to develop profound, interweaving themes. Hildegard eschewed the linear, repetitive explanations of her predecessors and created an organically coherent body of thought, rich with interconnected spiritual symbols. Part three deals with the wide-ranging reception of Hildegard’s works and her inspiring legacy, extending from theology to medicine. Her prophetic voice resounds in the morally urgent areas of creation theology and the corruption of church and political leadership. Hildegard decries human disregard for the earth and its lust for power. Instead, she advocates the unifying capacity of nature, “viridity,” that fosters the interconnectedness of all creation.
Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, the author argues that medieval music was quintessentially a practice of the flesh. It will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies.
As a young girl, medieval saint, healer, visionary, exorcist, and composer Hildegard von Bingen was locked in a cloister’s cell after demonstrating a preterenatural sensitivity to the world around her. Sequestered with Hildegard is Jutta, a woman who has spent her life secluded in an effort to recover a whole self after deepest trauma. Under Jutta’s guidance, Hildegard attempts to reassemble her own fragmented self while her mentor proselytizes a rejection of brokenness. IN THE GREEN is a musical unlike any you’ve seen, an astonishingly sonically sophisticated saga of two exceptional women broken by the world and their journey of healing that changed history.
A Renaissance woman long before the Renaissance, the visionary Hildegard of Bingen (1098–1179) corresponded with Europe's elite, founded and led a noted women's religious community, and wrote on topics ranging from theology to natural history. Yet we know her best as Western music's most accomplished early composer, responsible for a wealth of musical creations for her fellow monastics. Honey Meconi draws on her own experience as a scholar and performer of Hildegard's music to explore the life and work of this foundational figure. Combining historical detail with musical analysis, Meconi delves into Hildegard's mastery of plainchant, her innovative musical drama, and her voluminous writings. Hildegard's distinctive musical style still excites modern listeners through wide-ranging, sinuous melodies set to her own evocative poetry. Together with her passionate religious texts, her music reveals a holistic understanding of the medieval world still relevant to today's readers.
Completed in 1173, The Book of Divine Works (Liber Divinorum Operum) is the culmination of the Visionary’s Doctor’s theological project, offered here for the first time in a complete and scholarly English translation. The first part explores the intricate physical and spiritual relationships between the cosmos and the human person, with the famous image of the universal Man standing astride the cosmic spheres. The second part examines the rewards for virtue and the punishments for vice, mapped onto a geography of purgatory, hellmouth, and the road to the heavenly city. At the end of each Hildegard writes extensive commentaries on the Prologue to John’s Gospel (Part 1) and the first chapter of Genesis (Part 2)—the only premodern woman to have done so. Finally, the third part tells the history of salvation, imagined as the City of God standing next to the mountain of God’s foreknowledge, with Divine Love reigning over all.
The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of primary source materials. This volume of essays presents a cross-section of new research on performance issues in music of the Middle Ages and Renaissance. The subject is approached from a broad perspective, drawing on areas such as dance history, art history, music iconography and performance traditions from beyond Western Europe. In doing so, the volume continues some of the many lines of inquiry pursued by its dedicatee, Timothy J. McGee, over a lifetime of scholarship devoted to practical questions of playing and singing early music. Expanding the bases of inquiry to include various social, political, historical or aesthetic backgrounds both broadens our knowledge of the issues pertinent to early music performance and informs our understanding of other cultural activities within which music played an important role. The book is divided into two parts: 'Viewing the Evidence' in which visually based information is used to address particular questions of music performance; and 'Reconsidering Contexts' in which diplomatic, commercial and cultural connections to specific repertories or compositions are considered in detail. This book will be of value not only to specialists in early music but to all scholars of the Middle Ages and Renaissance whose interests intersect with the visual, aural and social aspects of music performance.