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.

Question: Graeme Obree (born 11 September 1965), nicknamed The Flying Scotsman, is a Scottish racing cyclist who twice broke the world hour record, in July 1993 and April 1994, and was the individual pursuit world champion in 1993 and 1995. He was known for his unusual riding positions and for the Old Faithful bicycle he built which included parts from a washing machine. He joined a professional team in France but was fired before his first race. Obree has created some radical innovations in bicycle design and cycling position but has had problems with the cycling authorities banning the riding positions his designs required.

Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for PS492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test - no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record.

Using a quote from the above article, answer the following question: How did he get started with racing?
HHHHHH
Answer:
An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots.