70 Schulze ⦁ Hildegard Example 4: Hildegard von Bingen, “O ignis Spiritus Paracliti” from Symphonia armoniae celestium revelationum.17 Here the music reflects the inspiration that Hildegard claimed from the Holy Spirit in her visions. She was known, not for her own wisdom, but for the wisdom that she received from God. Despite those with humility and virginity being closer to God, nuns teaching men or those outside the convent was uncommon. In the medieval era, the Church gave two theological justifications for people to teach in the church: through ecclesiastical approbation (clergy bishops or popes) or as teachers from grace (laypeople). Ecclesiastical approbation specifically is official permission to practice ministry from an ordained clergyman, a priest or pope. Though the tradition at the time excluded women from teaching, Hildegard still managed to teach from grace, although not ecclesiastical approbation. Around 1290, Parisian master Henry of Ghent wrote, “speaking about teaching from divine favor and the fervor of [caritas], it is well allowed for a woman to teach just like anyone else, if she possesses sound doctrine."18 Hildegard was well respected because of her sound doctrine that was reflected in her music. She wrote “O vis eternitatis” (Responsory for the Creator and Redeemer) to reflect the incarnation of Christ, a key belief for Christians. 17 Lomer. 18 McGinn, "The Changing Shape,” 209.
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