I was introduced to Hildegard by Lord Bragg conversing with Miri Rubin, William Flynn and Almut Suerbaum. I will drill down into the difference between scholars and academics later as they're all largely bought and sold as indeed am I and you - I will say that the official account for Hildegard has potholes. How would a fifteen year old, bricked in to a prison cell at a convent where the acoustics match that of Julian Assange's prison cell in Belmash, invent a genre and practise, experiment and enjoy her work that Cathedrals are designed for (among other qualities)?
Furthermore why would a 15 year old girl who devotes her life to God through abstention and isolation step out one day and ostensibly run the monastry as it were, before moving on to set up her own vision in Rupertsberg which most certainly is not Bingen.
Or let's put it another way. If a fanatical devotion to God through a life of mental flagellation and service changes such that one day the bricks are torn down as there's no door to exit, just a slot for passing food in and waste out. Why isn't that explained by anyone? Why would the elevator pitch for the story, the hook as it were, be left out?
Reverberation and church acoustics | Musitechnic. https://www.musitechnic.com/en/reverberation-and-church-acoustics/
Acoustics for Community Halls and Places of Worship | SRS. https://www.soundreduction.co.uk/advice/soundproofing-your-property-type/acoustics-for-community-halls-and-places-of-worship/
Church Acoustics For Liturgical Participation - Resonics. https://resonics.co.uk/church-acoustics
Church Acoustics: Four Must-Know Basic Concepts. https://www.churchproduction.com/education/church-acoustics-four-must-know-basic-concepts/
Church Acoustics: 5 Biggest Challenges and How to Fix Them
https://www.greatchurchsound.com/blog/church-acoustics-5-biggest-challenges-and-how-to-fix-them.