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"Hvor har det blitt av klangen fra dine melodier som en gang var så vanskelige å overhøre?"

Hildegard von Bingen (1098-1179) og hennes Ordo virtutum

Författare och institution:
Camilla Hambro (Institutionen för kultur, estetik och medier)
Publicerad i:
Studia Musicologica Morvegica. Norsk Årsskrift for Musikkforskning., 1995 ( 21 ) s. 105-135
Artikel, refereegranskad vetenskaplig
Sammanfattning (abstract):
This article is presenting the musical play Ordo virtutum by abbess Hildegard of Bingen (1098-1179). By virtue of her visionary experiences she was able to exercise a strength and authority unusual for women at the time. She also turned to music to express her visionary experiences. Merging her passions for poetry and composition, she wrote and collected her musical compositions under the title Symphonia harmoniae caelestium revelationum (Symphony of the harmoni of celestial revelations) which she continued to enlarge and enrich throughout her life. One of two extant manuscripts yielding text and music for 77 of her songs, teh Riesenpergamentkodex in Wiesbaden (dated 1180-90), contains Ordo virtutum, which predates the morality plays in the late middle ages. To discourse upon the implications of the information and lack of such in the manuscript the article deals with basic problems of interpretative and reconstructional work in medieval repertoires in general. The existing documentary evidence, the Wiesbaden manuscript is very much in need of fleshing-out and understanding. Since Ordo virtutum thematically is bound to Hildegard's major theological work, Scivias, which contains miniatures and major parts of the play in its third book, this work is an important source for scenografical features in contemporary historical informed performances of the play. In order to gather information on the conditions under which the play might have been presented and how it could have been performed, this information is compared to what theatre historians claim is close to the spirit of the 12th entury's theatre performances. Hildegard's musical language is built over a few constructional elements, melodic cells or types common for all songs with the same finalis. The range or tessitura of these cells and their immense potential, the position of the primary tone and its related tone-series, are analyzed. Furthermore the relation between text, action and melody, for instance these melodic cells' ability to reflect the content of the words and the action of the play, are studied carefully. There is little difference in style between the numbers sung by solo voices and those given by the chorus. In the play, the devil is denied musical expression, since he in his very being, is the enemy of music and seeks to steal it from humans. This fact is discussed to according to the practices and aesthetics of the period and to Hildegard's mystical universe.
Ämne (baseras på Högskoleverkets indelning av forskningsämnen):
Historia och arkeologi
Hildegard von Bingen (1898-1179), Ordo virtutum, Music, gender and genius, femininity, music historical knowledge and canonisation, gender and genre, gender and medieval music theatre, music analysis
Postens nummer:
Posten skapad:
2008-08-14 11:50
Posten ändrad:
2008-09-13 16:47

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