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MUS 332 Writing Assignment #1

Part A: Bibliography

Bent, Ian D., and Marianne Pfau. "Hildegard of Bingen." Grove Music Online. 2001; Accessed 1
Sep. 2022.
https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001
.0001/omo-9781561592630-e-0000013016.
Item was found through Grove Music database. Accessed online.

Flanagan, Sabina. Hildegard of Bingen, 1098-1179: A Visionary Life. 2nd ed. London:
Routledge, 1998.
Item was found as print source. Accessed by call number, BX4700.H5 F54 1998.

“Hildegard of Bingen.” Films On Demand, Films Media Group, 2002; Accessed 2 Sept. 2022.
htps://fod.infobase.com/PortalPlaylists.aspx?wID=102633&xtid=30254.
Item was found through Film on Demand database. Accessed online.

White, John D. “The Musical World of Hildegard of Bingen.” College Music Symposium 38


(1998): 6–16. http://www.jstor.org/stable/40374317.
Item was found through Journal Storage database. Accessed online.
Part B: Writing Response

Hildegard of Bingen was an excellent musician, composer, poet, and visionary, and is

one of the most well-known female creatives of the Middle Ages. She was a German Benedictine

abbess that established her own abbey, invented her own language, and wrote one of the first

known forms of opera titled “Ordo Virtutum”. These impressive accomplishments allowed for

revolutionary advancements in many subjects, especially musical theater with her morality play

becoming the first step towards modern opera.

Hildegard believed that the Divine was apparent all throughout the world. She called this

concept Viriditas. She was able to see proof of the existence of God in nature and used this idea

and concept in many of her works including her morality play, “Ordo Virtutum”. In this play,

everyone sings in salvation of God, except for the Devil.1 This is very symbolics of Hildegard’s

beliefs of spirituality in that music is one of the keys ways to praise God.

Music was highly valued and important to Hildegard. She described it as being created to

worship God and as being a way a bring the happiness and joy of heaven to Earth.2 This can be

easily identified when listening to many of her musical works. The angelic vocals are to remind

the listener of the kingdom of heaven, and to praise God.

In 1179 Hildegard’s convent was punished for burying a deceased member on prohibited

grounds. After, pushing back and forth with each other, the convent was punished by taking

away the use of music to praise God in the Divine Office. This was very much against

Hildegard’s beliefs about music in the church, so she wrote to the Prelates of Mainz about why

1
Fassler, Margot. “Hildegard of Bingen: Levels of Meaning in Song and Drama.” In Music in the
Medieval West, 137–141. New York: W.W. Norton and Company, 2014.
2
Bingen, Hildegard of. Excerpt from Epistle 47: To the Prelates of Mainz. In Source Readings in Music
History, edited by W. Oliver Strunk and Leo Treitler, 183–86. New York: Norton, 1998.
they must be allowed to continue using music to worship God. The Prelates of Mainz were most

likely convinced by her argument that they need to be allowed to continue singing as way of

praising God. In her letters she appealed to them by comparing their doings as being similar to

the story of Adam, where he had fallen into sin, but was able to rise again by the guidance and

singing of angels.

Hildegard was an immensely influential creative figure from the Middle Ages. Her

thoughts and innovations on spirituality and music were very important to the church and to the

rest of the world. She was able to change the way women were seen and left an impactf in such a

way that allowed her and her ideas to be the catalyst for many modern concepts to sprout.

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