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.

input: In 1947, Salk became ambitious for his own lab and was granted one at the University of Pittsburgh, but the lab was smaller than he had hoped and he found the rules imposed by the university restrictive. In 1948, Harry Weaver, the director of research at the National Foundation for Infantile Paralysis, contacted Salk. He asked Salk to find out if there were more types of polio than the three then known, offering additional space, equipment and researchers. For the first year he gathered supplies and researchers including Julius Youngner, Byron Bennett, L. James Lewis, and secretary Lorraine Friedman joined Salk's team, as well. As time went on, Salk began securing grants from the Mellon family and was able to build a working virology laboratory. He later joined the National Foundation for Infantile Paralysis's polio project established by President Franklin D. Roosevelt. Extensive publicity and fear of polio led to much increased funding, $67 million by 1955, but research continued on dangerous live vaccines. Salk decided to use the safer 'killed' virus, instead of weakened forms of strains of polio viruses like the ones used contemporarily by Albert Sabin, who was developing an oral vaccine. After successful tests on laboratory animals, on July 2, 1952, assisted by the staff at the D.T. Watson Home for Crippled Children, Salk injected 43 children with his killed-virus vaccine. A few weeks later, Salk injected children at the Polk State School for the retarded and feeble-minded. In 1954 he tested the vaccine on about one million children, known as the polio pioneers. The vaccine was announced as safe on April 12, 1955. The project became large, involving 100 million contributors to the March of Dimes, and 7 million volunteers. The foundation allowed itself to go into debt to finance the final research required to develop the Salk vaccine. Salk worked incessantly for two and a half years. Salk's inactivated polio vaccine was the first vaccine for the disease; it came into use in 1955. It is on the World Health Organization's List of Essential Medicines, the most effective and safe medicines needed in a health system.

Answer this question "What started him researching it?"
output: Harry Weaver, the director of research at the National Foundation for Infantile Paralysis, contacted Salk.

input: In June 1990, King Diamond began recording fifth studio album at Sweet Silence Studios in Copenhagen, Denmark. The drums on the album were played by Snowy Shaw using drum pads. Released on October 30, 1990, The Eye debuted at number 179 on Billboard 200. However, the band did not tour in support of the album, due to lack of label support. Following The Eye, Hal Patino and Pete Blakk were replaced by Sharlee D'Angelo and Mike Wead respectively. However this line-up ended-up not recording any material, as vocalist King Diamond reunited with Mercyful Fate in 1993 (King Diamond would balance recording and touring with both Mercyful Fate and his eponymous band throughout the 1990s). After recording and touring with Mercyful Fate, King Diamond reformed his eponymous band in 1994. With the line-up of King Diamond, Andy La Rocque, as well as guitarist Herb Simonsen, bassist Chris Estes and drummer Darrin Anthony, the band spent September through October, 1994, recording their next album. Released on June 6, 1995, The Spider's Lullabye was the band's first album on Metal Blade Records, as well as their first studio release since Fatal Portrait to not be a concept album. The album went on to peak at number 31 on the Finnish album charts. In March 1996, King Diamond began recording their seventh studio album at the Dallas Sound Lab. Released on October 1, 1996, The Graveyard saw King Diamond returning to writing concept albums. The album also charted at number 23 in Finland. After the album's release, drummer Darrin Anthony was forced to leave the band due to a car accident and was subsequently replaced by John Luke Hebert. On February 24, 1998, King Diamond released the album Voodoo, which charted at number 27 on the Finnish album chart and at number 55 on the Swedish album chart. After the album's release, guitarist Herb Simonsen was replaced by Glen Drover. When Mercyful Fate was put on hold in 1999, King Diamond began recording the album House of God at the Nomad Recording Studio in Carrollton, Dallas, Texas, with their new bassist Paul David Harbour, who had replaced Chris Estes. Released on June 20, 2000, the album peaked at number 60 in Sweden. After the album's release, guitarist Glen Drover and drummer John Luke Hebert were replaced by Mike Wead and Matt Thompson respectively.

Answer this question "What were some of their hit singles?"
output:
Released on October 30, 1990, The Eye debuted at number 179 on Billboard 200.