Page "Hildegard of Bingen" Paragraph 16

In addition to the Ordo Virtutum Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum.

The songs from the Symphonia are set to Hildegard ’ s own text and range from antiphons, hymns, and sequences, to responsories.

Her music is described as monophonic ; that is, consisting of exactly one melodic line.

Hildegard's compositional style is characterized by soaring melodies, often well outside of the normal range of chant at the time.

Additionally, scholars such as Margot Fassler and Marianna Richert Pfau describe Hildegard's music as highly melismatic, often with recurrent melodic units, and also note her close attention to the relationship between music and text, which was a rare occurrence in monastic chant of the twelfth century.

Hildegard of Bingen ’ s songs are left open for rhythmic interpretation because of the use of neumes without a staff.

The reverence for the Virgin Mary reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by the Virgin Mary and the saints.