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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.
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
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
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.