Hildegard Von Bingen, aka. St. Hildegard - Essay Example
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Extract of sample Hildegard Von Bingen, aka. St. Hildegard
The first song, ‘Spiritus Sanctus’ is homage to the Holy Trinity and the Holy Spirit sung in beautiful Latin by angelic voices of piety. The song, as though speaking to one’s soul, reverberates with the power of the Holy Spirit as it is sent down to Earth by God to overlook His creation. It emphasizes the scope of the life that is given and how Man must overcome sin and celebrate the life that was given. Spiritus Sanctus is an affirmation of the power of singing and how it is associated with prayer. The song which is basically a chant is sort of an interpretation of its composer of the sounds of heaven and quite possibly how the angels must be singing to God in His praise.
The harmony in the song is very eminent as it is sung in chorus by a group. It is a quintessential prayer where there are varied pitches in the middle of the song at a much faster pace wherein one or a couple voices are more audible. This is then followed by a harmonious chorus of the rest which backs the primary voices. Among the most piercing of the elements is the subsequent coming together of the voices from a lowered modulation to sing “Spiritus Sanctus” in unison toward the end with about less than a minute left. The song, which is a healing prayer, revitalizes the spirits and catapults it into a sense of euphoric sensation that brings about a relaxed but not an altogether uninterested feeling but of calmed but intensified realization. Ordo Virtutum The next song, ‘Ordo Virtutum’ is regarded as the oldest surviving morality play or also known as a liturgical drama of its time written by Hildegard. In the same way that most or almost all of the writers during her time claim that they were compelled by a vision to write or to produce, ‘Ordo Virtutum’ which literally translates to Play of Virtues was conceived in the same manner. It revolves around the age-old conflict between sins or the yearnings of the flesh and the upholding of virtues in order to better serve God and his plan. This creation of the composer has been performed a number of times by various groups including academic theatrical plays. It preceded all other liturgical dramas by over a century. Written in Latin and wholly in music, it “is thoroughly monastic and aristocratic in character” (Newman, p. 26) It is by its very purpose, a commentary and a form of teaching that aims to educate and forewarn people of their acts (ibid., p.13). The play is the struggle of the soul against the pulls of evil. This is illustrated through a journey where redemption is achieved through the necessity of the virtues. This struggle is depicted into an actual fight between virtues and their enemies. The Anima in ‘Ordo Virtutum’ was able to conquer the devil through the virtues. Virtues such as milites, fides and fear of the Lord (represented by Jesus) aserve as pivotal characters throughout the play. Another definitive concept is the importance given to the body as the dwelling place of the spirit and how this too must be taken cared of as essentially a temple of God (Kienzle, p. 36-37). This is
Hildegard Von Bingen, aka. St. Hildegard.
The influence of Hildegard through her music has transcended in such that it remains one of the most notable in the tradition of the Christian faith. …
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elor of Arts in Interpersonal Psychology from Bennington College, Vermont in 1943; a Master of Arts in Psychiatric Nursing from Teachers College, Columbia, New York in 1947; and a Doctor of Education in Curriculum Development from Columbia in 1953.
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