During the middle ages women had a lot of limit to access any kind of education due to the gender roles. They were not allowed to express their opinions or participate in significant social roles with a few exceptions. In relation to music, a lot of women developed their talents as performers and composers but they were considered only amateurs because it was unacceptable for women to seek professional status in music careers. One historical example that illustrated this scenery was the fact that women were silenced in church; particularly, they were not allowed to sing in church with the choir during the office services. However, although there were a lot of impediments, some women were able to compose music for their own amusement. One of the most notably women of the middle ages was Hildegard of Bingen, who was a German Benedictine abbess, multidisciplinary intellectual, prolific writer and composer. She composed a liturgical drama called Ordo Virtutum that contains about 82 tunes as well as a considerable number of sacred liturgical compositions such as hymns and sequences to be used during the Mass.
Columba aspexit was one sequence of Hildegard compositions created for a liturgical…show more content… In this case, sequence were created to be performed after the Alleluia and before the Credo during Mass services. The regular music form of this chat style is organized into two pair of similar lines such as the form A,BB,CC... However, Hildegard seemed to prefer to compose sequences in through-composed form, in which the music is continuing according to the meaning of the text. Yet, in the sequence Columba Aspexit the music is organized into four pair of lines with an extra independent line. The paired lines are very much similar at the beginning of the phrases but differ in the middle and last part of