Some context: Luis Antonio Gokim Tagle (Tagalog: [lU'wis an'tonIo 'tagle]; born June 21, 1957) is the 32nd Archbishop of Manila. He has been Archbishop since December 12, 2011, and a cardinal since November 24, 2012. He also serves as President of Caritas International, a federation of Catholic relief, development, and social service organizations, and of the Catholic Biblical Federation. Tagle has become involved in many social issues in the Philippines with emphasis on helping the poor while maintaining opposition against what he terms "practical atheism", abortion, and contraception (equated with abortion in the Philippines).
Tagle was born on June 21, 1957, the eldest child of devout Catholic parents, Manuel Topacio Tagle, an ethnic Tagalog and his Chinese Filipino wife, Milagros Gokim, who previously worked for Equitable PCI Bank. Tagle's paternal grandfather, Florencio, came from Imus, Cavite; the Tagle family were from the Hispanic, lowland Christian aristocracy known as the Principalia, which were the elite prior to the 1896 Philippine Revolution. Florencio was injured by a bomb explosion during the Second World War; Tagle's grandmother made a living by running a local diner. After attending elementary and high school at Saint Andrew's School in Paranaque, he was influenced by priest friends to enter the Jesuit San Jose Seminary, which sent him for studies at the Jesuit Ateneo de Manila University. Tagle earned a Bachelor of Arts degree in pre-divinity from Ateneo in 1977 and then a Master of Arts in theology at its Loyola School of Theology. Tagle earned his Doctorate in Sacred Theology at the Catholic University of America from 1987 to 1991. He wrote his dissertation under the direction of Joseph A. Komonchak on the development of the concept of episcopal collegiality at the Second Vatican Council and the influence of Pope Paul VI. Tagle also attended doctrinal courses at the Institute of Pope Paul VI University. In Komonchak's estimation, Tagle was "one of the best students I had in over 40 years of teaching" and "could have become the best theologian in the Philippines, or even in all of Asia" had he not been appointed bishop. Tagle has received honorary degrees from Catholic Theological Union and La Salle University.
Did he write any papers while he was in college?
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Some context: Hildegard of Bingen (German: Hildegard von Bingen; Latin: Hildegardis Bingensis; 1098 - 17 September 1179), also known as Saint Hildegard and Sibyl of the Rhine, was a German Benedictine abbess, writer, composer, philosopher, Christian mystic, visionary, and polymath. She is considered to be the founder of scientific natural history in Germany. Hildegard was elected magistra by her fellow nuns in 1136; she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama and arguably the oldest surviving morality play.
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.
What else did she do
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Scholars such as Margot Fassler, Marianne Richert Pfau, and Beverly Lomer also note the intimate relationship between music and text in Hildegard's compositions,