A Companion to Hildegard of Bingen

170 leigh-choate, flynn, and fassler
Barbara N ewman, includes essays on the music by Margot Fassler and on
the song texts by Newman.32 Another anniversary collection, edited by
Charles Burnett and Peter Dronke, includes studies by Walter Berschin of
the Ursula Offfijice chants and by John Stevens of her antiphons.33 Another
essay by Barbara Stühlmeyer on music in the 12th century appears in the
catalogue produced by Hans-Jürgen Kotzur to accompany the centennial
exhibit at the cathedral museum in Mainz.34 Later collections focusing on
medieval music include Mittelalter-Sehnsucht?, which offfers four essays
on Hildegard’s reception history in the 20th century by Gabrielle Lautenschläger,
Michael Klaper, Birgit Kiupel, and Stefan Morent.35 The collections
Psalms in Community and Women’s Voices across Musical Worlds
contain essays by Margot Fassler on the liturgical context of Hildegard’s
songs and the Ordo,36 and Fassler’s recent study of the sequence Matthias
Sanctus considers Volmar as Hildegard’s probable musical amanuensis.37
More recently, Stephen D’Evelyn has published articles on Hildegard’s song
lyrics and views on music, and Cecilia Panti has surveyed the reception
Der Ausdrucksgehalt der Modi und die musikalischen Werke Hildegards von Bingen,”
pp. 313–33; Barbara Stühlmeyer, “Auf der Suche nach der Stimme des lebendigen Geistes.
Die Musik Hildegards von Bingen als Sinnbild vollendeter Schöpfung,” pp. 334–38.
32 Voice; Margot Fassler, “Composer and Dramatist. ‘Melodious Singing and the Freshness
of Remorse,’” pp. 149–75; Newman, “Poet. ‘Where the Living Majesty Utters Mysteries,’”
pp. 176–92.
33 Walter Berschin, “Eine Offfijiziendichtung in der ‘Symphonia’ Hildegards von Bingen:
Ursula und die Elftausend Jungfrauen (carm. 44),” in Context, pp. 157–62; John Stevens,
“The Musical Individuality of Hildegard’s Songs: A Liturgical Shadowland,” pp. 163–88.
34 Hans-Jürgen Kotzur, Winfried Wilhelmy, and Ines Koring, eds., Hildegard von Bingen,
1098–1179. 17.4.–16.8. 1998: Katalog zur gleichnamigen Ausstellung im Dom- und Diözesanmuseum
Mainz (Mainz, 1998).
35 Annette Kreutziger-Herr and Dorothea Redepenning, eds., Mittelalter-Sehnsucht?
Texte des interdisziplinären Symposions zur musikalischen Mittelalterrezeption an der Universität
Heidelberg, April 1998 (Kiel, 2000): Gabrielle Lautenschläger, “‘Eine Erde der Lebendigen’—Die
Kirche als Mysterium und Institution bei Hildegard von Bingen,” pp. 187–200;
Michael Klaper, “Anmerkungen zur Überlieferung von einer musikalisch-schöpferischen
Tätigkeit der Hildegard von Bingen,” pp. 201–19; Birgit Kiupel, “Eine Allround-Nonne?
Moderne Visionen von Hildegard von Bingen,” pp. 221–42; and Stefan Morent, “Mittelalter-
Rezeption im Spiegel der Auffführungspraxis,” pp. 243–61.
36 Margot Fassler, “Hildegard and the Dawn Song of Lauds: An Introduction to Benedictine
Psalmody,” in Psalms in Community: Jewish and Christian Textual, Liturgical, and
Artistic Traditions, eds. Harold Attridge and Margot Fassler (Atlanta, 2003), pp. 215–39; and
Fassler, “Music for the Love Feast: Hildegard of Bingen and the Song of Songs,” in Women’s
Voices across Musical Worlds, ed. Jane Bernstein (Boston, 2004), pp. 92–117.
37 Margot Fassler, “Volmar, Hildegard, and St. Matthias,” in Medieval Music in Practice:
Studies in Honor of Richard Crocker, ed. Judith A. Peraino, Miscellanea 7 (Middleton, Wisconsin
and Münster, 2013), pp. 85–109.