Perhaps the least studied of Hildegard of Bingen's writings, Solutions to Thirty-Eight Questionsis translated in this volume into English for the first time from the original Latin. In this work of exegesis, Hildegard (1098-1179) resolves thorny passages of Scripture, theological questions, and two issues in hagiographic texts. Solutions to Thirty-Eight Questionsjoins Hildegard's Homilies on the Gospels, which were directed to her nuns, as evidence of the seer's exegetical writing as well as her authority as an exegete. The twelfth-century saint wrote in standard genres of exegesis--homilies and solutiones--and her interpretations of Scripture were widely sought, including by male audiences.
Perhaps the least studied of Hildegard of Bingen’s writings, Solutions to Thirty-Eight Questions is translated in this volume into English for the first time from the original Latin. In this work of exegesis, Hildegard (1098–1179) resolves thorny passages of Scripture, theological questions, and two issues in hagiographic texts. Solutions to Thirty-Eight Questions joins Hildegard’s Homilies on the Gospels, which were directed to her nuns, as evidence of the seer’s exegetical writing as well as her authority as an exegete. The twelfth-century saint wrote in standard genres of exegesis—homilies and solutiones—and her interpretations of Scripture were widely sought, including by male audiences.
Hildegard of Bingen, a Rhineland mystic of the twelfth century, has been called an ideal model of the liberated woman. She was a poet and scientist, painter and musician, healer and abbess, playwright, prophet, preacher and social critic. The Book of Divine Works was written between 1170 and 1173, and this is its first appearance in English. The third volume of a trilogy which includes Scivias, published by Bear & Company in 1985, this visionary work is a signal resounding throughout the planet that a time of healing and balance is at hand. The Book of Divine Works is a cosmology which reunites religion, science, and art, and readers will discover an astonishing symbiosis with contemporary physics in these 800-year-old visions. The present volume also contains 51 letters written by Hildegard to significant political and religious figures of her day and translations of twelve of her songs.
Hildegard of Bingen, a Rhineland mystic of the twelfth century, has been called an ideal model of the liberated woman. She was a poet and scientist, painter and musician, healer and abbess, playwright, prophet, preacher and social critic. The Book of Divine Works was written between 1170 and 1173, and this is its first appearance in English. The third volume of a trilogy which includes Scivias, published by Bear & Company in 1985, this visionary work is a signal resounding throughout the planet that a time of healing and balance is at hand. The Book of Divine Works is a cosmology which reunites religion, science, and art, and readers will discover an astonishing symbiosis with contemporary physics in these 800-year-old visions. The present volume also contains 51 letters written by Hildegard to significant political and religious figures of her day and translations of twelve of her songs.
The Lingua Ignota, "brought forth" by the twelfth-century German nun Hildegard of Bingen, provides 1012 neologisms for praise of Church and new expression of the things of her world. Noting her visionary metaphors, her music, and various medieval linguistic philosophies, Higley examines how the "Unknown Language" makes arid signifiers green again. This text, however, is too often seen in too narrow a context: glossolalia, angelic language, secret code. Higley provides an edition and English translation of its glosses in the Riesencodex (with assistance from the Berlin MS) , but also places it within a history of imaginary language making from medieval times to the most contemporary projects in efforts to uncover this woman s bold involvement in an intellectual and creative endeavor that spans centuries.
Hildegard of Bingen, a Rhineland mystic of the twelfth century, has been called an ideal model of the liberated woman. She was a poet and scientist, painter and musician, healer and abbess, playwright, prophet, preacher and social critic. The Book of Divine Works was written between 1170 and 1173, and this is its first appearance in English. The third volume of a trilogy which includes Scivias, published by Bear & Company in 1985, this visionary work is a signal resounding throughout the planet that a time of healing and balance is at hand. The Book of Divine Works is a cosmology which reunites religion, science, and art, and readers will discover an astonishing symbiosis with contemporary physics in these 800-year-old visions. The present volume also contains 51 letters written by Hildegard to significant political and religious figures of her day and translations of twelve of her songs.
Inquiry in Music Education: Concepts and Methods for the Beginning Researcher, Second Edition, introduces research and scholarship in music education as an ongoing spiral of inquiry. Exploring research conventions that are applicable beyond music to the other arts and humanities as well, it offers a sequential approach to topic formulation, information literacy, reading and evaluating research studies, and planning and conducting original studies within accepted guidelines. Following the legacy begun by Edward Rainbow and Hildegard C. Froehlich, this book expands what is meant by music education and research, teaching tangible skills for music educators with diverse instructional goals and career aspirations. The second edition addresses the changes in methods due to technological advances, a proliferation of new scholarship, and an awareness of the impact of place and culture on researchers and research participants. This edition features: the most current information on research tools, strategies to remain up-to-date, and expanded supplemental online materials (see inquiryinmusiceducation.com) case studies that reflect recent research and discuss issues of gender, race, and culture previously absent from mainstream scholarship an acknowledgment of the assessment demands of contemporary K-12 schooling a chapter devoted to mixed methods, arts-based, and practitioner inquiry assignments and other resources designed to be friendly for online course delivery chapters from contributing authors Debbie Rohwer and Marie McCarthy, bringing additional depth and perspective. Inquiry in Music Education provides students with the language, skills, and protocols necessary to succeed in today’s competitive markets of grant writing, arts advocacy, and public outreach as contributing members of the community of music educators.
Provides an introduction to research and scholarship in music education. This textbook covers topic formulation, information literacy, reading and evaluating research studies, and planning and conducting original studies within accepted guidelines, based on research conventions in music, the other arts, education, and the humanities ... Skills in research and scholarship introduce students to the language and protocols by which to succeed in today's competitive market of grant writing, arts advocacy, and public outreach as a contributing member of the community of music educators. Following the legacy begun by Rainbow and Froehlich in Research in Music Education, published in 1987, the objectives of this book are: To expand what is meant by music education and research, To help students find their niche in those definitions, and To teach tangible skills that are useful for music educators with diverse instructional goals and career aspirations." -- Blackwells website.
Inquiry in Music Education: Concepts and Methods for the Beginning Researcher, Second Edition, introduces research and scholarship in music education as an ongoing spiral of inquiry. Exploring research conventions that are applicable beyond music to the other arts and humanities as well, it offers a sequential approach to topic formulation, information literacy, reading and evaluating research studies, and planning and conducting original studies within accepted guidelines. Following the legacy begun by Edward Rainbow and Hildegard C. Froehlich, this book expands what is meant by music education and research, teaching tangible skills for music educators with diverse instructional goals and career aspirations. The second edition addresses the changes in methods due to technological advances, a proliferation of new scholarship, and an awareness of the impact of place and culture on researchers and research participants. This edition features: the most current information on research tools, strategies to remain up-to-date, and expanded supplemental online materials (see inquiryinmusiceducation.com) case studies that reflect recent research and discuss issues of gender, race, and culture previously absent from mainstream scholarship an acknowledgment of the assessment demands of contemporary K-12 schooling a chapter devoted to mixed methods, arts-based, and practitioner inquiry assignments and other resources designed to be friendly for online course delivery chapters from contributing authors Debbie Rohwer and Marie McCarthy, bringing additional depth and perspective. Inquiry in Music Education provides students with the language, skills, and protocols necessary to succeed in today’s competitive markets of grant writing, arts advocacy, and public outreach as contributing members of the community of music educators.
For upper level undergraduate and introductory graduate and doctoral courses in music education. Outlining the basic aspects, constructs and concepts relevant to understanding music teaching and learning from a sociological perspective, this volume introduces students to the discipline as a tool in understanding their own work. The text shows how certain academics in music, sociology and education have thought about the relationship of music to education, schooling and society and examines the consequences of such thinking for making instructional choices in teaching methods and repertoire selection. School music teaching is imbedded in two major societal traditions: (1) the tradition of music making, listening, and responding; and (2) the tradition of education as a societal mandate. The first tradition holds firmly to music artistry and musicological scholarship, the latter of which includes music sociology. The second tradition, that of education as a field of study, relies mostly on pedagogical principles rooted equally in psychology and sociology. Hildegard Froehlich bases the book upon the premise that a music teacher's work is equally shaped by both traditions. The more music teachers become aware of how societal structures shape their own lives as well as the lives of their students, colleagues, and superiors; the more "reality-based" their teaching will become. Society is a composite of communities in which different social classes, groups, and reference groups co-exist-to varying degrees of compatibility due to real or perceived differences in norms and values as well as hierarchies of power. Informed or intuitive choices made by an individual indicate allegiances to particular groups, how those groups are structured hierarchically; and where and how each individual fits into those hierarchies. This is true for the music world as it is true for the world of education.
Sociology for Music Teachers: Practical Applications, Second Edition, outlines the basic concepts relevant to understanding music teaching and learning from a sociological perspective. It demonstrates the relationship of music to education, schooling and society, and examines the consequences for making instructional choices in teaching methods and repertoire selection. The authors look at major theories, and concepts relevant to music education, texts in the sociology of music, and thoughts of selected ethnomusicologists and sociologists. The new edition takes a more global approach than was the case in the first edition and includes the application of sociological theory to contexts beyond the classroom. The Second Edition: Presents major theories in ethnomusicology, both traditional and contemporary. Takes a global approach by presenting a variety of teaching practices beyond those found in the United States. Emphasizes music education in a traditional classroom setting, but also applies specific constructs to studio teaching situations in conservatories (with private lessons) and community music. Provides recommendations for teaching practices by addressing popular music in school music curricula, suggests inclusionary projects that explore musical styles and repertoire of the past and present, and connects school to community music practices of varying kinds. Contains an increased number of suggestions for projects and discussions among the students using the book.
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