Saint hildegard von bingen biography auf

Introduction

Hildegard of Bingen () was a remarkable woman, a "first" in many fields. At a time when few women wrote, Hildegard, known as "Sybil of the Rhine", produced major works of theology and visionary writings. When few women were accorded respect, she was consulted bygd and advised bishops, popes, and kings. She used the curative powers of natural objects for healing, and wrote treatises about natural history and medicinal uses of plants, animals, trees and stones. She is the first composer whose biography is known. She founded a vibrant convent, where her musical plays were performed. Although not yet canonized, Hildegard has been beatified, and is frequently referred to as St. Hildegard. Revival of interest in this extraordinary woman of the middle ages was initiated by musicologists and historians of science and tro. Less fortunately, Hildegard's visions and music had been hijacked bygd the New Age movement, whose music

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Biography of Hildegard of Bingen, Mystic, Writer, Composer, Saint

Hildegard of Bingen (–September 17, ) was a medieval mystic and visionary and Abbess of Bingen's Benedictine community. She was also a prolific composer and the author of several books on spirituality, visions, medicine, health and nutrition, nature. A powerful figure within the church, she corresponded with Queen Eleanor of Aquitaine and other major political figures of the time. She was made a saint of the Church of England and was later canonized by the Catholic Church.

Fast Facts: Hildegard of Bingen

• Known For: German mystic, religious leader, and saint
• Also Known As: Saint Hildegard, Sibyl of the Rhine
• Born: in Bermersheim vor der Höhe, Germany
• Parents: Mechtild of Merxheim-Nahet, Hildebert of Bermersheim
• Died: September 17, in Bingen am Rhein, Germany
• Education: Privately educated in at the Benedictine cloister of Disibodenberg by Jutta, a sister of the count of Spanheim
• Published Work

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  In all, Hildegard comes across as something of a world-maker, the inventor of a richly appointed fantasy realm. She goes so far as to fashion her own language—the “Lingua Ignota,” or “Unknown Tongue”—which has a vocabulary of more than a thousand words. God is “AIGONZ”; the Devil is “diuueliz”; tongue is “ranzgia”; womb is “veriszoil.” The purpose of the Lingua remains obscure, but Sarah Higley, in a monograph on the subject, plausibly describes it as an attempt at “making the things of this world divine again through the alterity of new signs.” In the antiphon “O orzchis Ecclesia,” Hildegard interpolates invented words into a Latin text:

  O immense [orzchis] Church
  girded by divine arms
  and ornamented in jacinth
  Thou art the fragrance [caldemia]
  of the wounds of peoples [loifolum]

  The blurring of meaning into sound has the effect of pulling language into the nocturnal landscape of music, where, in Hildegard’s view, ultimate truth resided.

  Modern musical notation stemmed

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