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The study of the place of Hildegard von Bingen's Ordo virtutum among the composer's work and in the context of its time. The author deals with performative issues, especially regarding its classification by modern audiences.
The Ordo Virtutum, Hildegard von Bingen’s twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo’s expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work’s musical design and text. This is achieved primarily through Gardiner’s musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard’s correlative realization through sound, song, and voice.
For this revised edition of Hildegard's liturgical song cycle, Barbara Newman has redone her prose translations of the songs, updated the bibliography and discography, and made other minor changes. Also included is an essay by Marianne Richert Pfau which delineates the connection between music and text in the Symphonia. Famous throughout Europe during her lifetime, Hildegard of Bingen (1098-1179) was a composer and a poet, a writer on theological, scientific, and medical subjects, an abbess, and a visionary prophet. One of the very few female composers of the Middle Ages whose work has survived, Hildegard was neglected for centuries until her liturgical song cycle was rediscovered. Songs from it are now being performed regularly by early music groups, and more than twenty compact discs have been recorded.
Drawing on contemporary sources, the text unfolds Hildegard's life from the time of her entrance into an anchoress's cell--where a woman would remain in pious isolation--to her death as a famed visionary and writer, abbess and confidante of popes and kings, more than seventy years later. Against this background the author explores Hildegard's vast creative work, encompassing theology, medicine, natural history, poetry, and music.
A unique glimpse into the mind of the 12-century visionary Hildegard of Bingen through her “creative and insightful” writings on medicine, spirituality, and more (Booklist) Visionary, mystic, poet, musician, naturalist, healer, theologian—the Rhineland nun Hildegard of Bingen (1098–1179) was a Renaissance woman long before there was a Renaissance. This is the first book in English to offer a representative selection of writings from all of her amazing range of work. Hildegard wrote many volumes on subjects from mystical vision to sexuality, from theology to natural medicine—in letters, treatises, poetry, and songs—all in an age when few women wrote more than an occasional letter. She was a woman of extraordinary influence whose work not only surpassed that of her male contemporaries in its range, but also outshone them in visionary beauty and intellectual power. This collection includes a brief biography of Hildegard, and selections from the following works: • Scivias (literally, “know the ways”), the record of Hildegard's visions and her commentary on them • The Book of Life's Merits, visionary work • The Book of Divine Works, a work of cosmology and anthropology • Natural History, a record of plants, animals, and minerals, translated here into English for the first time • Causes and Cures, a compendium of her writing on natural medicine • Symphonia, her songs and poetry • Biographical works • Selected letters