Enigma Return to Innocence Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Enigma Return To Innocence mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Return To Innocence Country: Europe Released: 1993 Style: Downtempo, Ambient MP3 version RAR size: 1882 mb FLAC version RAR size: 1644 mb WMA version RAR size: 1411 mb Rating: 4.1 Votes: 629 Other Formats: WAV AHX AAC MOD DTS MP3 XM Tracklist Hide Credits 1 Return To Innocence (Radio Edit) 4:03 Return To Innocence (Long & Alive Version) 2 7:07 Remix – Curly M.C., Jens Gad Return To Innocence (380 Midnight Mix) 3 5:55 Remix – Jens Gad 4 Return To Innocence (Short Radio Edit) 3:01 Sadeness Part I (Radio Edit) 5 Lyrics By – Curly M.C., David FairsteinMusic By – Curly M.C., F. GregorianProducer – 4:17 Enigma Companies, etc. Phonographic Copyright (p) – Virgin Schallplatten GmbH Copyright (c) – Virgin Schallplatten GmbH Pressed By – EMI Jax Credits Producer, Engineer – "Curly" Michael Cretu* (tracks: 1 to 4) Vocals [Additional] – Angel* (tracks: 1 to 4) Written-By – Curly M.C. (tracks: 1 to 4) Notes Issued in a standard jewel case with front and rear inserts, black disc tray. Barcode and Other Identifiers Barcode (String): 724383842322 Barcode (Text): 7 2438 38423 2 2 Matrix / Runout: 38423-2 MO RE1 S4120F Y 1-1-1 EMI JAX Other versions Category Artist Title (Format) Label Category Country Year 7243 8 92197 2 Virgin, 7243 8 92197 2 Return To Innocence 2, 8 92197 2, Enigma Virgin, 2, 8 92197 2, Europe 1993 (CD, Maxi) DINSD 123 Virgin DINSD 123 Enigma = エニグマ* - VJCP-12015, Enigma Return To Innocence Virgin, VJCP-12015, Japan 1994 DINSD 123 = エニグマ* = リターン・トゥ・イノセンス Virgin DINSD 123 (CD, EP) 7243 8 92197 6 Virgin, 7243 8 92197 6 Return To Innocence UK & 0, DINST 123, 8 Enigma Virgin, 0, DINST 123, 8 1993 (12", Maxi) Europe 92197 6 Virgin 92197 6 7243 8 92197 2 Virgin, 7243 8 92197 2 Return To Innocence 2, 8 92197 2, Enigma Virgin, 2, 8 92197 2, Europe 1993 (CD, Maxi) DINSD 123 Virgin DINSD 123 Return To Innocence 4KM-38423 Enigma Charisma 4KM-38423 US 1993 (Cass, Single) Related Music albums to Return To Innocence by Enigma Enigma - MCMXC a.D. "The Limited Edition" King Curly - King Curly Enigma - The Cross Of Changes - Enigma 2 Enigma - MCMXC a.D. Curly Fox And Texas Ruby - Curly Fox And Texas Ruby The Corporation - Return To Innocence Medley Kyrie Enigma - Greatest Hits Enigma - The Cross Of Changes.

Copy Link

Recommended publications

SALVAGUARDA DO PATRIMÔNIO CULTURAL IMATERIAL Uma Análise Comparativa Entre Brasil E Itália UNIVERSIDADE FEDERAL DA BAHIA
SALVAGUARDA DO PATRIMÔNIO CULTURAL IMATERIAL uma análise comparativa entre Brasil e Itália UNIVERSIDADE FEDERAL DA BAHIA REITOR João Carlos Salles Pires da Silva VICE-REITOR Paulo Cesar Miguez de Oliveira ASSESSOR DO REITOR Paulo Costa Lima EDITORA DA UNIVERSIDADE FEDERAL DA BAHIA DIRETORA Flávia Goulart Mota Garcia Rosa CONSELHO EDITORIAL Alberto Brum Novaes Angelo Szaniecki Perret Serpa Caiuby Alves da Costa Charbel Niño El Hani Cleise Furtado Mendes Evelina de Carvalho Sá Hoisel Maria do Carmo Soares de Freitas Maria Vidal de Negreiros Camargo O presente trabalho foi realizado com o apoio da Coordenação de Aperfeiçoamento de pessoal de nível superior – Brasil (CAPES) – Código de financiamento 001 F. Humberto Cunha Filho Tullio Scovazzi organizadores SALVAGUARDA DO PATRIMÔNIO CULTURAL IMATERIAL uma análise comparativa entre Brasil e Itália também com textos de Anita Mattes, Benedetta Ubertazzi, Mário Pragmácio, Pier Luigi Petrillo, Rodrigo Vieira Costa Salvador EDUFBA 2020 Autores, 2020. Direitos para esta edição cedidos à Edufba. Feito o Depósito Legal. Grafia atualizada conforme o Acordo Ortográfico da Língua Portuguesa de 1990, em vigor no Brasil desde 2009. capa e projeto gráfico Igor Almeida revisão Cristovão Mascarenhas normalização Bianca Rodrigues de Oliveira Sistema de Bibliotecas – SIBI/UFBA Salvaguarda do patrimônio cultural imaterial : uma análise comparativa entre Brasil e Itália / F. Humberto Cunha Filho, Tullio Scovazzi (organizadores). – Salvador : EDUFBA, 2020. 335 p. Capítulos em Português, Italiano e Inglês. ISBN:
[Show full text]
Enigma Push the Limits Mp3, Flac, Wma
Enigma Push The Limits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Push The Limits Country: Europe Released: 2000 Style: Breakbeat, Trance MP3 version RAR size: 1934 mb FLAC version RAR size: 1416 mb WMA version RAR size: 1479 mb Rating: 4.5 Votes: 748 Other Formats: AUD MPC AUD AHX MP4 WAV VOX Tracklist Hide Credits Push The Limits (Radio Edit) 1 3:54 Producer – Michael Cretu Push The Limits (ATB Radio Remix) 2 3:35 Producer, Mastered By, Remix [Credited To] – André TannebergerRemix – ATB Companies, etc. Recorded At – A.R.T. Studios Mastered At – A.R.T. Studios Remixed At – ATB Studio 4 Mastered At – ATB Studio 4 Published By – 1-2-3 Music Published By – Crocodile Music Phonographic Copyright (p) – Virgin Schallplatten GmbH Copyright (c) – Virgin Schallplatten GmbH Credits Artwork [Art], Design – Johann Zambryski Engineer, Performer, Written-By [Music] – Jens Gad Engineer, Performer, Written-By [Music], Lyrics By – Michael Cretu Photography By [Some Original] – Steffen Jagenburg Notes Track 1 recorded and mastered at A.R.T. Studios, Ibiza/Spain. Track 2 remixed and mastered at ATB Studio 4. Published by 1-2-3 Music / Crocodile Music. P&C2000 Virgin Schallplatten GmbH Other versions Category Artist Title (Format) Label Category Country Year 7243 8 96680 2 5, Push The Limits (CD, Virgin, 7243 8 96680 2 5, Enigma Europe 2000 8 96680 2 Maxi) Virgin 8 96680 2 Push The Limits (CD, VGP 000290 Enigma Virgin VGP 000290 Europe 2000 Single, Promo, Car) Push The Limits (CD, 7243 8 96680 0 1 Enigma Virgin 7243 8 96680 0 1 Germany
[Show full text]
The Amis Harvest Festival in Contemporary Taiwan A
?::;'CJ7 I UNIVERSITY OF HAWAII LIBRARY. THE AMIS HARVEST FESTIVAL IN CONTEMPORARY TAIWAN A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'IIN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2003 BY Linda Chiang Ling-chuan Kim Thesis Committee: Frederick Lau, Chairperson Ricardo Trimillos Robert Cheng ACKNOWLEDGEMENTS I would never have been able to finish this thesis without help from many people and organizations. I would like to first thank my husband Dennis, and my children, Darrell, Lory, Lorinda, Mei-ling, Tzu-yu, and Darren, for their patience, understanding, and encouragement which allowed me to spend two entire summers away from home studying the culture and music of the Amis people of Taiwan. I especially want to thank Dennis, for his full support of my project. He was my driver and technical assistant during the summer of 1996 as I visited many Amis villages. He helped me tape and record interviews, songs, and dances, and he spent many hours at the computer, typing my thesis, transcribing my notes, and editing for me. I had help from friends, teachers, classmates, village chiefs and village elders, and relatives in my endeavors. In Taiwan, my uncles and aunts, T'ong T'ien Kui, Pan Shou Feng, Chung Fan Ling, Hsu Sheng Ming, Chien Su Hsiang, Lo Ch'iu Ling, Li Chung Nan, and Huang Mei Hsia, all helped with their encouragement and advice. They also provided me with rides, contacts, and information. Special thanks goes to T'ong T'ien Kui and Chung Fan Ling who drove me up and down mountains, across rivers and streams, and accompanied me to many of the villages I wanted to visit.
[Show full text]
Bytes and Backbeats: Repurposing Music in the Digital
ͭ Bytes and Backbeats ͭ Bytes and Backbeats Repurposing Music in the Digital Age steve savage the university of michigan press / ann arbor Copyright © by the University of Michigan 2011 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2014 2013 2012 2011 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Savage, Steve, 1948– Bytes and backbeats : repurposing music in the digital age / Steve Savage. p. cm. — (Tracking pop) Includes bibliographical references and index. ISBN 978-0-472-11785-7 (cloth : alk. paper) — ISBN 978-0-472-02773-6 (e-book) 1. Popular music—Production and direction. 2. Sound recordings— Production and direction. I. Title. ML3470.S32 2011 781.6409'051—dc22 2011007217 for tamara Together we explored the world while I explored this world. Preface Several of the gracious readers of this book in its various drafts suggested that I should include some biographical information to help orient the reader to this work. I suppose all authors have a story about what brought them to their book, but perhaps in this case it is particularly relevant. My story begins with a career as a drummer during which time I played in nu- merous unsuccessful rock bands, learned some jazz without ever coming close to mastering it, studied and performed African music with a master drummer from Ghana, and spent a couple of years actually making a liv- ing as a musician playing in a dance band.
[Show full text]
Pristine Sounds and Heart-Breaking Synthesizers - Introducing the Sound of the Future
Pristine sounds and heart-breaking synthesizers - Introducing the sound of the future Within the new era of electronic dance music and world-class DJ scene carving a way into the charts, one UK based composer, writer and music engineer is taking the reverberant sounds of mid 1980’s Sophisti-Pop and early 1990’s Euro Dance, House and NRG, and bringing it bang into 2014. The genius behind “The 11 Nex” music project and band is on a mission to share his work with a global audience, and put a stamp on the industry with his unique sound. Combining a mix of sophisticated vocals, instrumental samplers, digital drums and shiny synthesizers, the man behind the scenes, Milosz Kowalewski (aka Milos Kovalevsky), creates innovative film soundtracks and commercial audio products, encompassing the new age of electro, ambient and progressive trance, with a dose of plasticity and mysteriousness. With his work soon to be available for licensing and across many online music stores, this upcoming talent sets his sights on grabbing the attention of the world stage. Crediting sophisticated Maverick’s Madonna, an Italian composer, Giorgio Moroder, the people behind Enigma’s music wagon, Michael Cretu, Sandra, Jens Gad, and, as well, the very successful German Euro Dance group - Sash!, with inspiring his eclectic style, Milosz aims to produce a complete creative fan experience, providing the best in talent, sound and musical ambience. “I'm an audiophile. I love good music and I want to experience it in the highest standard of life possible. My business is a life-time project and my primary goal is to share my music with everyone who wants to hear it,” said HastenFreakout Media Founder Kowalewski.
[Show full text]
Explains Why They Did Not Follow the Typical Blueprint for Female Rock Bands. Page 6 Muncie's All-Girl Quartet
72 HOURS OCTOBER 16, 2003 U! ARCMuncie’sA all-girlD quartetE explains why they did not OUR follow the typical blueprint for female rock bands. R page 6 BUTT ON 285-8257 INSIDE: MICHELLE BRANCH, THE MATRIX RELOADED, ELECTRIC SIX, WHITE RIVER LANDING, ENIGMA, THE STROKES, JONATHAN SANDERS’ ‘IN MY HEADPHONES’, 2 FAST 2 FURIOUS, VERTICAL HORIZON 2 • Culture CULTURE EVERYTHING BUT POLE DANCING Vicki Lawrence CMT’s Most Zack Bent: and Mama — A Wanted Live Dropping the Two-Woman with Rascal Ball and Other Show Flats, Chris Common 72HOURS Civic Hall Cagle and Brian Dilemmas Performing Arts McComas Mitchell Place Center Emens Gallery The Ball State Daily News Saturday Auditorium ends October 28 arts and entertainment tab 4 p.m. and 8 Friday Friday and p.m. 8 p.m. Saturday sold out noon to 5:30 Rent p.m. Don’t see your event listed? Clowes Ball State Sunday Memorial Hall Symphony noon to 4 p.m. Friday Orchestra 8 p.m Emens Friday Night Saturday Auditorium Filmworks: 2 p.m. and 8 Sunday Pirates of the p.m. 7:30 p.m. Caribbean Sunday free Pruis Hall 1 p.m. and 6:30 Friday p.m. Heartland Film 9:30 p.m. TELL US! Festival free Of Mice and Indiana History Men Center and What Men Don’t Muncie Civic other Tell phone: 765-285-8257 Theatre Indianapolis Murat Theatre Friday and locations Friday and Saturday Friday, Saturday Saturday 8 p.m. and Sunday 8 p.m. email: [email protected] $7 for students visit www.heart- $26.50 landfilmfesti- val.org for times and locations Movics • 3 BEN ‘MOUSE’ MCSHANE’S CINEMA REEL CALL MOVIES IN THEATERS THIS WEEKEND BLOOD, NINJAS AND UMA OPENING THIS WEEK and his bizarre wins in court, in MUST-SEE MOVIE clan.
[Show full text]
Digital Music Sampling and Copyright
DIGITAL MUSIC SAMPLING AND COPYRIGHT POLICY-A BITTERSWEET SYMPHONY?' ASSESSING THE CONTINUED LEGALITY OF MUSIC SAMPLING IN THE UNITED KINGDOM, THE NETHERLANDS, AND THE UNITED STATES Melissa Hahn* TABLE OF CONTENTS I. INTRODUCTION: ABORIGINAL VOICES AND THE 1996 OLYMPICS-ASSESSING THE GLOBAL SCOPE OF DIGITAL M USIC SAMPLING ....................................... 715 II. BACKGROUND: THE RISE OF DIGITAL MUSIC SAMPLING AND ITS LEGAL RAMIFICATIONS ................... 719 A. The Emergence of DigitalMusic Sampling in PopularMusic and in Copyright Litigation ................ 719 B. The Berne Convention and Moral Rights .................. 721 III. ANALYSIS: A GLOBAL CONSIDERATION OF THE CURRENT LEGALITY OF DIGITAL MUSIC SAMPLING ............ 723 A. The Legality of Sampling Under U.K. Law ................ 723 B. The Legality of Sampling Under Dutch Law ............... 726 C. The Legality of Sampling Under U.S. Law ................. 730 * J.D., University ofGeorgia School of Law, 2006; B.A., UniversityofSouthern California, 2001; MSc, London School of Economics, 2002. In the late 1990s, a British court ordered rock group the Verve to pay all of the royalties stemming from their 1997 hit "Bittersweet Symphony" to the owners of the Rolling Stones' song "The Last Time" for failing to clear the use of a Rolling Stones' sample in the song. See Ben Challis, The Song Remains the Same: Music Sampling in the DigitalAge, MONDAQ, Dec. 23, 2003, http://www.mondaq.com/article.asp?articleid=23823&latestnews.html. The Verve sampled a symphonic remake of the Stones' hit, which was released on the "Rolling Stones Songbook" album under the monniker, the Andrew Oldham Orchestra. Christopher O'Connor, The Verve SuedAgain over 'BitterSweet Symphony,'VH .coM, Jan.
[Show full text]
Facing the Music: Traditional Knowledge and Copyright Bryan Bachner
Human Rights Brief Volume 12 | Issue 3 Article 3 2005 Facing the Music: Traditional Knowledge and Copyright Bryan Bachner Follow this and additional works at: http://digitalcommons.wcl.american.edu/hrbrief Part of the Intellectual Property Commons Recommended Citation Bachner, Bryan. "Facing the Music: Traditional Knowledge and Copyright." Human Rights Brief 12, no. 3 (2005): 9-12. This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Human Rights Brief by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Bachner: Facing the Music: Traditional Knowledge and Copyright Facing the Music: Traditional Knowledge and Copyright by Bryan Bachner HE WORLD TRADE ORGANIZATION AND U.S. COURTS have permissible uses of that work. Only original works that are fixed in developed a complex copyright system to safeguard the a tangible medium are copyrightable. Copyright law affords the rights of musicians. Similar rights, however, are not extend- author of a work the right to reproduce, distribute, perform, dis- ed to the traditional knowledge of indigenous communities play, or make derivative works from the copyrighted work. Tbecause the dominant copyright system assumes a particularly Infringement actions arise when third parties make use of the work Western approach to the creative process and intellectual property or copy a substantial part of the work without permission from the rights. As a result, there is an emerging problem concerning the gov- author.
[Show full text]
Music & Websites
Resources for SoulCollagers: Music & Websites from KaleidoSoul.com KaleidoSoul Recommended Resources For SoulCollagers Volume 2: MUSIC & WEBSITES Compiled by Anne Marie Bennett, SoulCollage® Facilitator & Facilitator Trainer, Massachusetts, New England, the Internet, & Beyond 1 Resources for SoulCollagers: Music & Websites from KaleidoSoul.com KaleidoSoul Resources for SoulCollagers- Volume 2: Music & Websites , copyright 2010 by Anne Marie Bennett. All rights reserved. Please do not copy, forward, give away or reproduce this material in any manner without written permission from the author. Hundreds of hours (and much creative energy) were devoted to the creation of this e-book. Your purchase supports the continuing efforts of KaleidoSoul.com in its mission to make SoulCollage available to people around the world. To give feedback or to contact the author, please email [email protected] . SoulCollage® is a trademarked process, created by Seena Frost. For more information about Seena, SoulCollage®, and Facilitator Trainings, please visit www.SoulCollage.com . This e-book is brought to you by ….......... www.KaleidoSoul.com Spinning the fragments of your world into wholeness and beauty through SoulCollage ® 2 Resources for SoulCollagers: Music & Websites from KaleidoSoul.com Introduction I really love my dual roles as Editor and Writer of Soul Treasures , the KaleidoSoul Kindred Spirits Members’ Newsletter. And one of my favorite jobs in those roles is seeking out resources for SoulCollagers to enhance their practice. It’s a pleasure to stumble across a website or CD that I know will resonate with you. I often wander around the web searching for sites that have potential to enhance our inner wisdom and outer knowledge.
[Show full text]
Michael Cretu Discography 22 Cd Releases 1979
michael_cretu_discography_22_cd_releases_1979-2012.zip Studios прекращена.T.1979 Moon, Light & Flowers1983 Legionare1983 Legionnaires1985 Die Chinesische Mauer1985 The Invisible Man1988 Belle Epoque1992 Cornelius + Cretu2012 Gambit (Singles Collection)Мишель Крету родился в Бухаресте. Крету признается, что он, конечно же, очень счастлив там, где он живет. К 1985 году Крету достиг высших позиций в чартах как создатель текстов, продюсер и клавишник Moti Special. Его успех продолжился в 1987 году, когда он работал продюсером Майка Олдфилда. В 1990 году вышел наиболее известный альбом Крету, "MCMXC a. Мишель Крету переселился в Германию. Работа A.R. В 1968 году он 5 месяцев обучался в Париже, а в 1975, в возрасте 18 лет, он был принят в Музыкальную Академию во Франкфурте. Обсуждая свою работу, Крету признался, что он хотел стать пианистом, и что он "начал писать хиты в тот день, когда купил фортепьяно". Позже его партнёрами по творческой работе стали Фрэнк Петерсон, Дэвид Фэйрстейн, Йенс Гад, Angel Х, ATB, Jam & Spoon, Peter Ries, Рут-Энн Бойл и Эндрю Дональдс. Там он начал серьёзно работать в сфере популярной музыки, помогая в качестве клавишника некоторым исполнителям. В этом доме Крету открыл ресторан, куда часто приглашал различных музыкантов и исполнителей. Studios), и дом в центре города Ивиса — исторический памятник XVIII столетия.В 1980-е годы Крету стал автором песен и продюсером для других исполнителей.. В 1968 году он переехал в Париж. Он был продюсером первого международного хитового сингла "Maria Magdalena" и выпустил еще один сольный альбом "Die Chinescische Mauer" ("Китайская стена"), за которым вскоре последовал "The Invisible Man", это был тот же альбом, но с текстом на английском языке. Вместо этого он был занят, сидя перед 3 терминалами, перебирая и слушая сотни компакт-дисков с песнопениями различных первобытных рас, создавая сэмплы, сопоставляя и каталогизируя материал, чтобы можно было приступить к созданию композиции.
[Show full text]
Intellectual Property Rights of Women Artists from India Ruchira Goswani
Journal of Gender, Social Policy & the Law Volume 16 | Issue 2 Article 2 2008 Presentation: Naming The nnU amed: Intellectual Property Rights of Women Artists from India Ruchira Goswani Karubakee Nandi Follow this and additional works at: http://digitalcommons.wcl.american.edu/jgspl Part of the Intellectual Property Commons, International Law Commons, and the Women Commons Recommended Citation Goswani, Ruchira and Karubakee Nandi. "Naming The nnU amed: Intellectual Property Rights of Women Artists from India." American University Journal of Gender, Social Policy & the Law. 16, no. 2 (2008): 257-281. This Special Event is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Journal of Gender, Social Policy & the Law by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Goswani and Nandi: Presentation: Naming The Unnamed: Intellectual Property Rights of NAMING THE UNNAMED: INTELLECTUAL PROPERTY RIGHTS OF WOMEN ARTISTS FROM INDIA RUCHIRA GOSWAMI* & KARUBAKEE NANDI** I. Introduction ............................................................................................257 II. Locating Cultural Rights of Indigenous People Within the Human Rights Framework ..........................................................................261 A. International Human Rights Law and the Indigenous
[Show full text]
“O EUCHARI” REMIXED Lisa Colton Abbess Hildegard Von Bingen
7 CHANNELLING THE ECSTASY OF HILDEGARD VON BINGEN: “O EUCHARI” REMIXED Lisa Colton Abbess Hildegard von Bingen (1098–1179) became an unexpected cult figure in the final decades of the twentieth century, when her life and work were used as the stimulus for numerous cultural products, from imagined autobiographies to film. Her adoption as a quasi- featured artist by creators of electronic dance music (EDM) was surprisingly commercially successful, chiming with Michael Embach’s view that: No other medieval figure has been as subject to transitions that have strayed so profoundly from an authentic impression, moving through myth and legend, and finally into pure fiction.1 Hildegard’s reception at this time rested on cultural understandings of her as a visionary, a nun whose spirituality had almost magical qualities. Her mysticism, her isolation as a well-documented female composer of the twelfth century, and her melodic style led to Hildegard’s association with ‘ecstasy’ – both in the meanings found to be inherent to her music, and with the interpretation of her works in performance and re-composition. This chapter will examine the ways in which notions of female ecstasy also informed the use of Hildegard’s music in ambient house and New Age tracks that sampled the song “O Euchari”: The Beloved’s “The Sun Rising” (1989), Orbital’s “Belfast” (1991), and Richard Souther’s “Vision (O Euchari in Leta Via)” (1994). 1 Michael Embach, “Hildegard of Bingen (1098–1179): A History of Reception,” A Companion to Hildegard of Bingen: Companion to Hildegard of Bingen, ed. Beverly Kienzle, George Ferzoco, and Debra Stoudt (Leiden: Brill, 2013), 273–304.
[Show full text]