input: In 1955-1956, Heyerdahl organized the Norwegian Archaeological Expedition to Rapa Nui (Easter Island). The expedition's scientific staff included Arne Skjolsvold, Carlyle Smith, Edwin Ferdon, Gonzalo Figueroa and William Mulloy. Heyerdahl and the professional archaeologists who travelled with him spent several months on Rapa Nui investigating several important archaeological sites. Highlights of the project include experiments in the carving, transport and erection of the notable moai, as well as excavations at such prominent sites as Orongo and Poike. The expedition published two large volumes of scientific reports (Reports of the Norwegian Archaeological Expedition to Easter Island and the East Pacific) and Heyerdahl later added a third (The Art of Easter Island). Heyerdahl's popular book on the subject, Aku-Aku was another international best-seller. In Easter Island: The Mystery Solved (Random House, 1989), Heyerdahl offered a more detailed theory of the island's history. Based on native testimony and archaeological research, he claimed the island was originally colonized by Hanau eepe ("Long Ears"), from South America, and that Polynesian Hanau momoko ("Short Ears") arrived only in the mid-16th century; they may have come independently or perhaps were imported as workers. According to Heyerdahl, something happened between Admiral Roggeveen's discovery of the island in 1722 and James Cook's visit in 1774; while Roggeveen encountered white, Indian, and Polynesian people living in relative harmony and prosperity, Cook encountered a much smaller population consisting mainly of Polynesians and living in privation. Heyerdahl notes the oral tradition of an uprising of "Short Ears" against the ruling "Long Ears". The "Long Ears" dug a defensive moat on the eastern end of the island and filled it with kindling. During the uprising, Heyerdahl claimed, the "Long Ears" ignited their moat and retreated behind it, but the "Short Ears" found a way around it, came up from behind, and pushed all but two of the "Long Ears" into the fire. This moat was found by the Norwegian expedition and it was partly cut down into the rock. Layers of fire were revealed but no fragments of bodies. As for the origin of the people of Easter Island, DNA tests have shown a connection to South America, critics conjecture that this was a result of recent events, but whether this is inherited from a person coming in later times is hard to know. If the story that (almost) all Long Ears were killed in a civil war is true, as the islanders story goes, it would be expected that the statue-building South American bloodline would have been nearly utterly destroyed, leaving for the most part the invading Polynesian bloodline.

Answer this question "Why is that"
output: Roggeveen encountered white, Indian, and Polynesian people living in relative harmony and prosperity, Cook encountered a much smaller population consisting mainly of Polynesians and living in privation.

input: Attention in recent decades to women of the medieval Church has led to a great deal of popular interest in Hildegard's music. In addition to the Ordo Virtutum, sixty-nine musical compositions, each with its own original poetic text, survive, and at least four other texts are known, though their musical notation has been lost. This is one of the largest repertoires among medieval composers. One of her better known works, Ordo Virtutum (Play of the Virtues), is a morality play. It is uncertain when some of Hildegard's compositions were composed, though the Ordo Virtutum is thought to have been composed as early as 1151. The morality play consists of monophonic melodies for the Anima (human soul) and 16 Virtues. There is also one speaking part for the Devil. Scholars assert that the role of the Devil would have been played by Volmar, while Hildegard's nuns would have played the parts of Anima and the Virtues. In addition to the Ordo Virtutum, Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from the Symphonia are set to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories. Her music is described as monophonic, that is, consisting of exactly one melodic line. Its style is characterized by soaring melodies that can push the boundaries of the more staid ranges of traditional Gregorian chant. Though Hildegard's music is often thought to stand outside the normal practices of monophonic monastic chant, current researchers are also exploring ways in which it may be viewed in comparison with her contemporaries, such as Hermannus Contractus. Another feature of Hildegard's music that both reflects twelfth-century evolutions of chant and pushes those evolutions further is that it is highly melismatic, often with recurrent melodic units. Scholars such as Margot Fassler, Marianne Richert Pfau, and Beverly Lomer also note the intimate relationship between music and text in Hildegard's compositions, whose rhetorical features are often more distinct than is common in twelfth-century chant. As with all medieval chant notation, Hildegard's music lacks any indication of tempo or rhythm; the surviving manuscripts employ late German style notation, which uses very ornamental neumes. The reverence for the Virgin Mary reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by the Virgin Mary and the saints. The definition of viriditas or "greenness" is an earthly expression of the heavenly in an integrity that overcomes dualisms. This greenness or power of life appears frequently in Hildegard's works. Despite Hildegard's self-professed view that her compositions have as object the praise of God, one scholar has asserted that Hildegard made a close association between music and the female body in her musical compositions. According to him, the poetry and music of Hildegard's Symphonia would therefore be concerned with the anatomy of female desire thus described as Sapphonic, or pertaining to Sappho, connecting her to a history of female rhetoricians.

Answer this question "What else did you learn about her"
output:
one scholar has asserted that Hildegard made a close association between music and the female body in her musical compositions.