Amongst the 77 liturgical songs that Hildegard of Bingen composed, there are 43 antiphons (call and response style of singing), 18 responsories (responsory type of singing), 6 sequences, 4 hymns (songs of praise), 3 hymn-type songs, one Kyrie, one Hallelujah as well as the Singspiel Ordo virtutum. Although she used these common terms, the structure of the melodies often differs from the common form. This is why musicologists often describe her work as extraordinary and individual in the compositions. On the aspect of what makes it novel, however, they all agree. In the Middle Ages, the melodies of church music were characterized by the rhythm of speech and were called „Gregorian chant“. Around the turn of the millennium, the „authentic“ existence of the chant was concluded, for newer works the terms „medieval chant“ or „late Gregorian chant“ were used. The main problem with Hildegard’s musical work lies in the lack of existence in comparable material of the same time. This is why the unique features of her work, which make it different to the better researched Gregorian chant, cannot be associated with the personal style of Hildegard without doubt. These differences comprise a tonal range of one and a half to two octaves and major intervallic leaps. Hildegard seldom repeated melodies in the same way, but adapted them to the text. In particular her hymns, sequences and responsories differ from the Gregorian chants in terms of length and difficulty. Some more recent findings have, according to Karlheinz Schlager, in the meantime levelled the image of Hildegard’s different compositions to some extent, but through their figurative language she doubtlessly gave the chants their own „tone“.