...Jennifer Bain The music of Hildegard of Bingen (1098-1179) has often been described as standing outside medieval chant traditions. This article argues that although many features of her music deviate from early chant, her repertoire conforms instead in remarkable ways with a late chant style, which...

... Cantata, op. 31 (1943): (1) the structural composition of complete cycles, including their length, the segmental invariances they produce, and their interaction with Hildegard Jone’s texts; (2) the primitives, potentialities, and surface articulations of aligned cycles, both synchronous and asynchronous...

..., and that the musical elements supposedly associated with these two different styles are not so easy to quantify through musical anal- ysis. My contribution provides a historiographical overview of descriptions of the music of Hildegard of Bingen, which in the twentieth century...

... Hildegard of Bingen to György Ligeti (and even includes a brief composition by Hatten himself). While it mainly focuses on instrumental works, Hatten considers songs by Robert Schumann, Debussy, and Fauré often bringing out agen- tial roles for the accompaniment and operas by Wagner, Shostakovich...

.... 2001 . Music, Body and Desire in Medieval Culture, from Hildegard of Bingen to Chaucer. Stanford: Stanford University Press. Huot, Sylvia. 1999 . “Troubadour Lyric and Old French Narrative.” In The Troubadours: An Introduction , ed. Simon Gaunt and Sarah Kay, 69 -74. Cambridge: Cambridge...