Abstract
collection of essays on Ordo virtutum (Kalamazoo, 1992), and thus no mention of Pamela Sheingorn's thesis that the play was connected with the Consecration of Virgins in Hildegard's convents. Missing, too, is John Stevens's questioning essay, 'The musical individuality of Hildegard's songs: a liturgical shadowland', in Hildegard of Bingen: the context of her thought and art, ed. Charles Burnett and Peter Dronke (London, 1998), pp.163-88. Nor do we find reference to Barbara Newman's important volume of essays, Voice of the living light: Hildegard of Bingen and her world (Berkeley, 1998), and thus no listing of the work of Margot Fassler, a strong supporter of the liturgical use theory. Fortunately Stiihlmeyer has more to offer. She promises (p.99) an extensive study on the placement of Hildegard's quilismas within her modal structure, which will be a welcome addition to the information about that pesky neume. If her current book is not the last word on Hildegard, such a 'last word' is scarcely possible. To paraphrase Whitman, she is large; she contains multitudes. Here's to multitudes of new work.
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