Hildegard’s largest work is a play with music called Ordo virtutum (“The enactment of the virtues”). In it, the Devil and the sixteen virtues do battle for the possession of a Christian soul. It is by far the oldest extant example of what is now called the “morality play,” a form of allegorical drama (chiefly popular between the fourteenth and the sixteenth centuries) in which the actors personify virtues and vices. In terms of content, then, Hildegard’s play was unusual and, it could be said, prophetic. In terms of its genre, however, it was not unusual at all.
- Citation (MLA):
- Richard Taruskin. "Chapter 3 Retheorizing Music." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Mar. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-003007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 3 Retheorizing Music. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-003007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 3 Retheorizing Music." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-003007.xml