The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three examines the notation found in the sources containing Hildegard's music (the Riesenkodex and the Dendermonde codex) and discusses the structural importance of pitches within the neumatic groupings. The resulting graphic analysis adapt Schenkerian analytic notation to represent a hierarchy of pitch relationships. Chapter four applies this methodology to four other antiphons by Hildegard: "Hodie aperuit," "Nunc gaudeant," "O virtus sapientie," and "O virgo ecclesia."
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.23206 |
| Date | January 1995 |
| Creators | Bain, Jennifer, 1967- |
| Contributors | McLean, Donald R. (advisor), Cumming, Julie (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Faculty of Music.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001475522, proquestno: MM07915, Theses scanned by UMI/ProQuest. |
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