{"id":1566,"date":"2022-12-14T14:56:21","date_gmt":"2022-12-14T20:56:21","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=1566"},"modified":"2022-12-14T14:56:21","modified_gmt":"2022-12-14T20:56:21","slug":"behind-the-scivias-ordo-virtutum-and-symphonia","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2022\/12\/14\/behind-the-scivias-ordo-virtutum-and-symphonia\/","title":{"rendered":"Behind The Scivias, Ordo Virtutum, and Symphonia"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Date: 1153<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">The Scivias<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">A little over 10 years ago I received a calling to share my visions. The <\/span><i><span style=\"font-weight: 400;\">Scivias <\/span><\/i><span style=\"font-weight: 400;\">is my documentation of such visions and declaration that these visions are true from God. It took 10 years to write with the help of Volmar, my former teacher and now secretary, and my favorite nun, Richardis von Stade.\u00a0<\/span><\/p>\n<figure id=\"attachment_1568\" aria-describedby=\"caption-attachment-1568\" style=\"width: 124px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-1568\" src=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/12\/creation-and-fall-124x300.jpeg\" alt=\"\" width=\"124\" height=\"300\" srcset=\"https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/12\/creation-and-fall-124x300.jpeg 124w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/12\/creation-and-fall-424x1024.jpeg 424w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/12\/creation-and-fall-62x150.jpeg 62w, https:\/\/pages.stolaf.edu\/performinghistory\/wp-content\/uploads\/sites\/1254\/2022\/12\/creation-and-fall.jpeg 538w\" sizes=\"auto, (max-width: 124px) 100vw, 124px\" \/><figcaption id=\"caption-attachment-1568\" class=\"wp-caption-text\">\u00a0 \u00a0 \u00a0 Man&#8217;s Fall<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">I\u2019ve had quite a few visions about Adam and Eve, but one that I go into deeply in the second vision of my first book which looks at the two in regards to the creation and the fall. First Lucifer fell and soon after so did Adam because of Eve\u2019s temptations. Eve, innocent for she was made from the innocent Adam\u2019s ribs, was easily seduced, as all women are. Women are more susceptible as men are stronger, yet fall weak for those that they love; Adam would do whatever she said to him. <a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1<\/sup><\/a> <\/span><span style=\"font-weight: 400;\">This vision shows us how woman can very quickly overthrow man.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I chose to remain a virgin when I was a teenager, but this vision further solidified my beliefs on the matter. Virginity is a most noble act and will earn you glory in the celestial kingdom. Virginity equates the carnal body with glory for it remains unpolluted. <a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>2<\/sup><\/a><\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">The Ordo Virtutum<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">I composed my <\/span><i><span style=\"font-weight: 400;\">Ordo Virtutum, <\/span><\/i><span style=\"font-weight: 400;\">a morality play, soon after finishing <\/span><i><span style=\"font-weight: 400;\">The Scivias<\/span><\/i><span style=\"font-weight: 400;\">. My visions actually inspired me to write <\/span><i><span style=\"font-weight: 400;\">The Ordo Virtutum, <\/span><\/i><span style=\"font-weight: 400;\">as a shortened version of my play is included at the end of <\/span><i><span style=\"font-weight: 400;\">The Scivias<\/span><\/i><span style=\"font-weight: 400;\">. When writing the play I decided not to present any biblical event, saint\u2019s life, or miracle, instead I illustrated the allegorical struggle between the virtues and the Devil.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The play begins by introducing the Virtues, all personified as women, to the Patriarchs and Prophets. The imprisoned souls then beg the Virtues for divine insight, but one soul is tempted by the Devil. As the Virtues define themselves, the Devil opposes those views of the virtues. The soul that was tempted by the Devil eventually returns weakened and stained by her experience and she repents. The Virtues, led by Humility, the Queen of the Virtues, capture and bind the devil as they praise God the Father.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>3<\/sup><\/a> <\/span><span style=\"font-weight: 400;\">The play ends by invoking Christ to ask God to accept his suffering as the cure for the ills of a wounded world.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>4<\/sup><\/a>\u00a0<\/span><span style=\"font-weight: 400;\">I chose to have the female Virtues restore the fallen soul rather than the male Prophets and Patriarchs to empower my sisters.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>5<\/sup><\/a><br \/>\n<\/span><\/p>\n<p><span style=\"font-weight: 400;\">All major characters of the play, except for the devil, are portrayed by women. And I chose to only give the Devil hoarse croaks of false praise as he shouts his oaths and temptations rather than grant him any music, for music is the imitation of divine harmony and the Devil cannot have it. For the virtues, I chose to give Virtue Castitas the longest speech in praise of virginity. The triumph over the Devil with the trampling of the serpent in <\/span><i><span style=\"font-weight: 400;\">Genesis<\/span><\/i><span style=\"font-weight: 400;\"> equals the virgin birth of Christ. As the virtues defeat the Devil in the play, virginity prevails as it always will.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>6<\/sup><\/a><br \/>\n<\/span><\/p>\n<p><span style=\"font-weight: 400;\">On the topic of virginity, I\u2019ve received backlash on letting my nuns don white veils adorned with gold crowns, but I respond simply by stating the radiant-white robe represents the paradise humans had and lost in the Garden of Eden. Through chastity, my nuns show the innocence of Eden and when they are in heaven standing at the Last Judgment their white veils show their primordial state of blessedness and are of the original <\/span><i><span style=\"font-weight: 400;\">feminae forma<\/span><\/i><span style=\"font-weight: 400;\">.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>7<\/sup><\/a> <\/span><span style=\"font-weight: 400;\">My <\/span><i><span style=\"font-weight: 400;\">Ordo Virtutum <\/span><\/i><span style=\"font-weight: 400;\">celebrates the triumph of the human soul that gets tempted by evil through salvation not from man, but from the virginal soul in the female body.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>8<\/sup><\/a><\/span><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/zUMlhtoGTzY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>\u00a0<em>Start at 54:13 to hear the Devil&#8217;s hoarse croaks of false praise<\/em><\/p>\n<p><i><span style=\"font-weight: 400;\">Symphonia<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">I decided to compose music after receiving my call to share my visions in 1141. The collection of my liturgical songs can be found in a cycle called the <\/span><i><span style=\"font-weight: 400;\">Symphonia armoniae celestium revelationum<\/span><\/i><span style=\"font-weight: 400;\"> with music set to my own text. I follow the monophonic chant style that I hear in the church, but I decided to expand the range of my singers beyond what I\u2019ve heard my whole life.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>9<\/sup><\/a> <\/span><span style=\"font-weight: 400;\">Much of my music pays homage to the Virgin Mary. I included 16 Marian pieces in my symphonia, but one of my personal favorites is the responsory \u201cO quam preciosa\u201d, which is usually performed after one of the short lessons of the hour.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>10<\/sup><\/a><\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/MPQB7iJwiX4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<blockquote><p><i><span style=\"font-weight: 400;\">O quam preciosa virginia huius que clausam portam habet,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Et cuius viscera sancta divinitas calore suo infudit,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Ita quod flos in ea crevit.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Et Filius Dei per secreta ipsius<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Quasi aurora exivit.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Unde dulce germen, quod Filius ipsius est,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">per clausuram ventris eius paradisum aperuit.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Et Filius Dei per secreta ipsius<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Quasi aurora exivit.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">O how precious is the virginity of this virgin who has a closed gate,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And whose womb holy divinity suffused with its warmth,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So that a flower grew in her.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">And the Son of God came forth like the dawn through her secret.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Hence the tender shoot,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Which is her Son,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">opened paradise through the cloister of her womb.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">And the Son of God came forth like the dawn through her secret.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>11<\/sup><\/a><br \/>\n<\/span><\/p><\/blockquote>\n<p><span style=\"font-weight: 400;\">This responsory celebrates the miracle of Jesus Christ with a focus on the anatomy of Mary. This bodily focus on Mary serves as a metaphor for my monastery. My sisters fill the cloister of the Virgin&#8217;s womb with their songs of praise. I mention the secret of Mary\u2019s Virgin body throughout the responsory, a secret that only myself, Christ, and my fellow virgin sisters know.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>12<\/sup><\/a><br \/>\n<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Another one of my works from <\/span><i><span style=\"font-weight: 400;\">Symphonia<\/span><\/i><span style=\"font-weight: 400;\">, \u201cO vos angeli\u201d, looks at the suffering of the soul. This antiphon illustrates one of my more peculiar visions on the order of the angels.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/q8piailwbCY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<blockquote><p><i><span style=\"font-weight: 400;\">O vos angeli<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">qui coustoditis populos,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">quorum forma fulget<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">in facie vestra,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">et o vos archangeli<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">qui suscipitis<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">animas iustorum,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">et vos virtutes,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">protestates,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">principatus, dominationes<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">et troni,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">qui, estis computati<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">in quintum secretum numerum,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">et o vos cherubin<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">et seraphin,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">sigillum secretorum Dei:<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Sit laus vobis,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">qui loculum antiqui cordis<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">in fonte asspicitis.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Videtis enim<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">interiorem vim Patris,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">que de corde illius spirat<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">quasi facies.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><i><span style=\"font-weight: 400;\">Sit laus vobis,<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">qui loculum antiqui cordis<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">in fonte asspicits.<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Oh you angels<\/span><\/p>\n<p><span style=\"font-weight: 400;\">who guard the peoples,\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">whose form gleams in your face,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">and O you archangels,\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">who recieve the souls of the just,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">and you virutes,\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">powers,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">princedoms, dominations,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">and thrones,\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">who are counted in the secret number five,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">and O you cherubim<\/span><\/p>\n<p><span style=\"font-weight: 400;\">and seraphim,\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">seal of the secrets of God:<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Praise be to you,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">who behold in the fountain<\/span><\/p>\n<p><span style=\"font-weight: 400;\">the little place of the ancient heart.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">For you see\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">the inner strength of the Father,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">which breathes from is heart,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">like a face.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Praise be to you,<\/span><\/p>\n<p><span style=\"font-weight: 400;\">who behold in the fountain\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">the little place of the ancient heart.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>13<\/sup><\/a><br \/>\n<\/span><\/p><\/blockquote>\n<p><span style=\"font-weight: 400;\">I\u2019ve divided the angels into a few groups- the angles and the archangels who\u00a0<\/span><span style=\"font-weight: 400;\">represent body and soul, the cherubim and seraphim who signify the knowledge of love and God, and the five orders corresponding to the five senses and five wounds of Christ.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>14<\/sup><\/a> <\/span><span style=\"font-weight: 400;\">As I mentioned earlier, my compositions differ from Gregorian chant I usually hear in the church because I extend the range more than my contemporaries. I decided to give \u201cO vos angeli\u201d a wider range than any other composition in my <\/span><i><span style=\"font-weight: 400;\">Symphonia<\/span><\/i><span style=\"font-weight: 400;\">. I used melismas throughout \u201cO vos angeli\u201d to explore the range of the voice as well as show the ascent of the soul.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>15<\/sup><\/a> <\/span><span style=\"font-weight: 400;\">This text talks not only about the powers of the angels, but also much to my dismay, the human inability to reach God. Through the composition of my antiphon, the listener will have no choice but to understand our bodily inferiority.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>16<\/sup><\/a><br \/>\n<\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">1 H<span style=\"font-weight: 400;\">ildegard of Bingen, <\/span><i><span style=\"font-weight: 400;\">Scivias<\/span><\/i><span style=\"font-weight: 400;\"> (New Jersey: Paulist Press, 1990), 77.<\/span><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">2 Ibid, 83.<\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">3 A<span style=\"font-weight: 400;\">udrey Ekdahl Davidson, \u201cMusic and Performance: Hildegard of Bingen\u2019s <\/span><i><span style=\"font-weight: 400;\">Ordo Virtutum<\/span><\/i><span style=\"font-weight: 400;\">,\u201d in <\/span><i><span style=\"font-weight: 400;\">The Ordo Virtutum of Hildegard Bingen: Critical Studies<\/span><\/i><span style=\"font-weight: 400;\">, ed. Audrey Ekdahl Davidson (Michigan: Medieval Institute Publications, 1992), 1-29<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">4&#8243;<span style=\"font-weight: 400;\">Hildegard of Bingen (1098-1179): <\/span><i><span style=\"font-weight: 400;\">Ordo virtutum: <\/span><\/i><span style=\"font-weight: 400;\">Closing chorus, <\/span><i><span style=\"font-weight: 400;\">In principio omnes<\/span><\/i><span style=\"font-weight: 400;\">,\u201d in <\/span><i><span style=\"font-weight: 400;\">Norton Anthology of Western Music, Volume 1: Ancient to Baroque, Seventh Edition<\/span><\/i><span style=\"font-weight: 400;\">, ed. J. Peter Burkholder and Claude V. Palisca (New York: W. W. Norton &amp; Company, 2014), 36-38.\u00a0<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">5 Ibid<\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">6 <span style=\"font-weight: 400;\">Holsinger, Bruce W. <\/span><i><span style=\"font-weight: 400;\">Music, Body, And Desire in Medieval Culture: Hildegard of Bingen to Chaucer<\/span><\/i><span style=\"font-weight: 400;\">. California: Stanford University Press, 2001.<\/span><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">7 P<span style=\"font-weight: 400;\">amela Sheingorn, \u201cThe Virtues of Hildegard\u2019s <\/span><i><span style=\"font-weight: 400;\">Ordo Virtutum; <\/span><\/i><span style=\"font-weight: 400;\">or, It <\/span><i><span style=\"font-weight: 400;\">Was <\/span><\/i><span style=\"font-weight: 400;\">a Woman\u2019s World,\u201d in <\/span><i><span style=\"font-weight: 400;\">The Ordo Virtutum of Hildegard Bingen: Critical Studies<\/span><\/i><span style=\"font-weight: 400;\">, ed. Audrey Ekdahl Davidson (Michigan: Medieval Institute Publications, 1992), 43-62.<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">8 Ibid<\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">9 H<span style=\"font-weight: 400;\">olsinger, Bruce W. \u201cThe Flesh of the Voice: Embodiment and the Homoerotics of Devotion in the Music of Hildegard of Bingen (1098-1179).\u201d <\/span><i><span style=\"font-weight: 400;\">Signs<\/span><\/i><span style=\"font-weight: 400;\"> 19, no. 1 (1993): 92\u2013125. http:\/\/www.jstor.org\/stable\/3174746.<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">10 H<span style=\"font-weight: 400;\">olsinger, Bruce W. <\/span><i><span style=\"font-weight: 400;\">Music, Body, And Desire in Medieval Culture: Hildegard of Bingen to Chaucer<\/span><\/i><span style=\"font-weight: 400;\">. California: Stanford University Press, 2001.<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">11 S<span style=\"font-weight: 400;\">aint Hildegard of Bingen. <\/span><i><span style=\"font-weight: 400;\">Symphonia: A Critical Edition of the \u201cSymphonia Armonie Celestium Revelationum\u201d (Symphony of the Harmony of Celestial Revelations)<\/span><\/i><span style=\"font-weight: 400;\">. 2nd ed. Cornell University Press, 1998. http:\/\/www.jstor.org\/stable\/10.7591\/j.ctv75d3k2.<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">12 H<span style=\"font-weight: 400;\">olsinger, Bruce W. <\/span><i><span style=\"font-weight: 400;\">Music, Body, And Desire in Medieval Culture: Hildegard of Bingen to Chaucer<\/span><\/i><span style=\"font-weight: 400;\">. California: Stanford University Press, 2001<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">13 S<span style=\"font-weight: 400;\">aint Hildegard of Bingen. <\/span><i><span style=\"font-weight: 400;\">Symphonia: A Critical Edition of the \u201cSymphonia Armonie Celestium Revelationum\u201d (Symphony of the Harmony of Celestial Revelations)<\/span><\/i><span style=\"font-weight: 400;\">. 2nd ed. Cornell University Press, 1998. http:\/\/www.jstor.org\/stable\/10.7591\/j.ctv75d3k2.<\/span><\/a><\/p>\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">14 Holsinger, <span style=\"font-weight: 400;\">Bruce W. <\/span><i><span style=\"font-weight: 400;\">Music, Body, And Desire in Medieval Culture: Hildegard of Bingen to Chaucer<\/span><\/i><span style=\"font-weight: 400;\">. California: Stanford University Press, 2001<\/span><\/a><\/p>\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">15 B<span style=\"font-weight: 400;\">arbara J. Newman, \u201cNotes\u201d\u00a0 in <\/span><i><span style=\"font-weight: 400;\">Scivias<\/span><\/i><span style=\"font-weight: 400;\">, Hildegard of Bingen (New Jersey: Paulist Press, 1990), 283.<\/span><\/a><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\"><\/a><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">16<span style=\"font-weight: 400;\">\u00a0Holsinger, Bruce W. <\/span><i><span style=\"font-weight: 400;\">Music, Body, And Desire in Medieval Culture: Hildegard of Bingen to Chaucer<\/span><\/i><span style=\"font-weight: 400;\">. California: Stanford University Press, 2001<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Date: 1153 The Scivias A little over 10 years ago I received a calling to share my visions. The Scivias is my documentation of such visions and declaration that these visions are true from God. It took 10 years to write with the help of Volmar, my former teacher and now secretary, and my favorite [&hellip;]<\/p>\n","protected":false},"author":3525,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[97],"class_list":["post-1566","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-potens-feminea-forma"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1566","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/users\/3525"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=1566"}],"version-history":[{"count":2,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1566\/revisions"}],"predecessor-version":[{"id":1569,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1566\/revisions\/1569"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=1566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=1566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=1566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}