A Companion to Hildegard of Bingen

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218 leigh-choate, flynn, and fassler Example 4. Musical structure of Deus enim, Aer enim, and Deus enim rorem
hildegard as musical hagiographer 219 the note E in its opening and, with one exception (marked B’), cadences from the semi-tone above on E, often in combination with Group C. Group C stresses the note h at its opening and cadences like Group B. Each group appears in basic and elaborated forms. The rhetorical development and musical unity of these three antiphons suggests that they form part of the same unit (i.e. the lauds psalmody). The fĳinal psalm antiphon, Sed diabolus, provides a rhetorical counterexample to the previous three antiphons, signaled by the use of the conjunction sed. This antiphon frames the singing of Psalm 150, which ends, “Let every spirit praise the Lord.”51 Its repetition thus forms a striking conclusion to the psalmody, as the devil (a spirit) refuses the psalm’s injunction and directly mocks the opus Dei, the singing of the Divine Offfĳice itself. While the psalmody ends with the devil in triumph (implying that the martyrdom has taken place), this apparent triumph is overturned by the hymn Cum vox sanguinis, which describes the voice of the martyrs’ blood as it rises to heaven and is heard and rewarded there, and also by the Gospel antiphon (Et ideo), in which the martyrs are emblazoned (vexillate) with Christ’s royal banner. The proposed order thus makes it possible to perform the full antiphon series in its proper service (lauds) and in a liturgical order that maintains the connections between the rhetorically and musically related antiphons. The resulting series forms a more compelling narrative than solutions found in modern editions and recorded performances. Conclusion Hildegard’s songs complement her visionary writings, drawing upon, expanding, and sometimes clarifying their imagery or theology.52 While some songs may have been written originally as revelations without music, many were likely composed as liturgical songs from the outset, to the melodies recorded in Dendermonde and the Riesenkodex, or their like. When heard or read in context within the Mass or Divine Offfĳice, the songs accumulate layers of meaning beyond Hildegard’s texts. Her vivid images interact with the centuries-old symbolism of the liturgy to powerful efffect, 51 Ps. 150:6, Douay-Rheims; “omnis spiritus laudet Dominum.” Biblia Sacra Vulgata. 52 For a discussion of intertextuality in Hildegard’s work, see Beverly Kienzle and Travis Stevens’s chapter in this volume, “Intertextuality in Hildegard’s Works: Ezekiel and the Claim to Prophetic Authority,” pp. 137–62. See also Speaking New Mysteries, pp. 199–243.
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A Companion to Hildegard of Bingen
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A Companion to Hildegard of Bingen
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CONTENTS Notes on Contributors ....
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NOTES ON CONTRIBUTORS Michael Embac
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notes on contributors ix with parti
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xii abbreviations Epistolarium, III
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ACKNOWLEDGMENTS The editors wish to
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TIMELINE FOR HILDEGARD OF BINGEN’
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THE REGION OF HILDEGARD OF BINGEN s
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2 kienzle and stoudt as well emphas
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4 kienzle and stoudt A Companion to
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6 kienzle and stoudt Elisabeth of S
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8 kienzle and stoudt Finally, the a
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10 kienzle and stoudt over the cour
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12 kienzle and stoudt also an (illu
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WHAT DO WE KNOW ABOUT THE LIFE OF J
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what do we know about the life of j
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ST DISIBOD AND THE HISTORY OF THE D
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st disibod and the history of the d
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58 constant j. mews least as practi
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60 constant j. mews Hildegard was r
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62 constant j. mews a religious lif
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64 constant j. mews how Archbishop
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66 constant j. mews gathered around
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68 constant j. mews have copied at
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70 constant j. mews life to come se
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72 constant j. mews Augustinian com
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74 constant j. mews “the ways of
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76 constant j. mews true life” (r
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78 constant j. mews the language of
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80 constant j. mews Disibodenberg,
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82 constant j. mews into bloom, and
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UNEQUAL TWINS: VISIONARY ATTITUDE A
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unequal twins 87 nifĳicat (Quia re
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unequal twins 89 In this study, how
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unequal twins 91 Maria consors mart
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unequal twins 93 amazing popularity
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unequal twins 95 An important conf
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unequal twins 97 and shared its lit
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unequal twins 99 common musical com
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unequal twins 101 Could we imagine
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unequal twins 103 interpreted as a
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unequal twins 105 Hildegard’s son
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unequal twins 107 encounter with th
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HILDEGARD, THE SCHOOLS, AND THEIR C
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hildegard, the schools, and their c
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138 kienzle and stevens commenting
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140 kienzle and stevens monks at Vi
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142 kienzle and stevens Mary, and t
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144 kienzle and stevens problems oc
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146 kienzle and stevens Hildegard
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148 kienzle and stevens Likewise, i
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150 kienzle and stevens The magistr
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152 kienzle and stevens Knowledge o
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154 kienzle and stevens became the
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156 kienzle and stevens to prophecy
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158 kienzle and stevens the Rhinela
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160 kienzle and stevens also chose
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162 kienzle and stevens memory enjo
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164 leigh-choate, flynn, and fassle
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166 leigh-choate, flynn, and fassle
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Page 242 and 243: 222 susanne ruge linked to the part
Page 244 and 245: 224 susanne ruge An outline is incl
Page 246 and 247: 226 susanne ruge in the Vite mer. t
Page 248 and 249: 228 susanne ruge Thus, even before
Page 250 and 251: 230 susanne ruge These two primary
Page 252 and 253: 232 susanne ruge Since the devil is
Page 254 and 255: 234 susanne ruge in the tradition o
Page 256 and 257: 236 susanne ruge In response, the v
Page 258 and 259: 238 susanne ruge blessed who await
Page 260 and 261: 240 susanne ruge levels do not diff
Page 262 and 263: 242 susanne ruge the murder of a ch
Page 264 and 265: 244 susanne ruge teacher or judge (
Page 266 and 267: 246 susanne ruge The Benedictine Ru
Page 268 and 269: 248 susanne ruge (vices) and in the
Page 270 and 271: 250 debra l. stoudt Translations of
Page 272 and 273: 252 debra l. stoudt St Augustine (3
Page 274 and 275: 254 debra l. stoudt appeared in the
Page 276 and 277: 256 debra l. stoudt are useful in i
Page 278 and 279: 258 debra l. stoudt of life,”39 a
Page 280 and 281: 260 debra l. stoudt physical and sp
Page 282 and 283: 262 debra l. stoudt begins with Ada
Page 284 and 285: 264 debra l. stoudt Hildegard is af
Page 286 and 287: 266 debra l. stoudt As an amulet, t
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268 debra l. stoudt account of Chri
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270 debra l. stoudt exorcism, compl
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272 debra l. stoudt The Antichrist
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274 michael embach Pentachronon and
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276 michael embach Chapter in Pragu
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278 michael embach for the canoniza
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280 michael embach the successful e
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282 michael embach texts compiled d
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284 michael embach that will afffli
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286 michael embach that Winand was
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288 michael embach University, Ms.
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290 michael embach cannot be consid
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292 michael embach In addition, he
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294 michael embach Hildegard in his
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296 michael embach saint’s nimbus
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298 michael embach Jacobus de Guis
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300 michael embach works in his com
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302 michael embach produced by a Je
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304 michael embach of Hildegardian
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306 george ferzoco ignored. Thus, t
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308 george ferzoco sent their revis
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310 george ferzoco better part of t
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312 george ferzoco Hildegardis, vir
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314 george ferzoco and was complete
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316 george ferzoco The papal bull o
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318 george ferzoco in providing a l
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320 george ferzoco II.B. Church off
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322 george ferzoco but it also show
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324 bibliography München, Bayerisc
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326 bibliography Gerard of Csanad.
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328 bibliography Johannes Afffligem
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330 bibliography ——. Guillelmi
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332 bibliography Bund, Konrad. “D
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334 bibliography ——. “Platoni
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336 bibliography ——. “Ductus
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338 bibliography Alfred Haverkamp,
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340 bibliography Jonsson, Ritva. Hi
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342 bibliography May, Johannes. Die
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344 bibliography Oxford Music Onlin
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346 bibliography Staab, Franz. “R
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INDEX Abelard, Peter 117n36, 127, 1
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index 351 Cuno, abbot of Disibodenb
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index 353 Helenger, abbot 207 hell
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index 355 Leclerq, Jean, scholar 10
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index 357 Paul of Bernried 67-68 Pa
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index 359 theology, creation 78, 10
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A Companion to Hildegard of Bingen

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