Problem: Background: 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.
Context: 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.
Question: What else did you learn about her
Answer: one scholar has asserted that Hildegard made a close association between music and the female body in her musical compositions.

Problem: Background: Barrow was born in Springfield, Illinois, the oldest of four children, all male, born to Effie Ann Vinson-Heller and John Barrow. Barrow's father fought in the Ohio Volunteer Militia during the American Civil War. Following the war, Barrow's parents, with John's mother, brothers, and sisters, traveled in a covered wagon to Nebraska; Barrow was born on a hemp plantation belonging to relatives during the trip. The Barrows lived in Nebraska for six years before moving to Des Moines, Iowa.
Context: Barrow partnered with Harry Stevens in 1894 to sell concessions at baseball games. He helped George Moreland form the Interstate League, a Class-C minor league, in 1894. Barrow, with Stevens and Al Buckenberger, purchased the Wheeling Nailers of the Interstate League in 1896. Barrow served as field manager until the collapse of the league that season. The team continued in the Iron and Oil League for the rest of the year.  Barrow then bought the Paterson Silk Weavers of the Class-A Atlantic League, managing them for the rest of the 1896 season. Barrow discovered Honus Wagner throwing lumps of coal at a railroad station in Pennsylvania, and signed him to his first professional contract. Barrow sold Wagner to the Louisville Colonels of the National League (NL) for $2,100 the next year ($61,774 in current dollar terms). With poor attendance, Barrow brought in professional boxers as a draw: he had James J. Corbett play first base while John L. Sullivan and James J. Jeffries umpired. He also hired Lizzie Arlington, the first woman in professional baseball, to pitch a few innings a game.  From 1897 through 1899, Barrow served as president of the Atlantic League. During this time, in the winter of 1898-99, Barrow and Jake Wells established a movie theater in Richmond, Virginia. Barrow managed Paterson again in 1899, but the league folded after the season.  With the money earned from the sale of the Richmond movie theater, Barrow purchased a one-quarter share of the Toronto Maple Leafs of the Class-A Eastern League in 1900 from Arthur Irwin, and served as the team's manager. Irwin, hired to be the manager of the Washington Senators of the NL, brought his most talented players with him. Rebuilding the Maple Leafs, Barrow acquired talented players, such as Nick Altrock, and the team improved from a fifth-place finish in 1899, to a third-place finish in 1900, and a second-place finish in 1901. The Maple Leafs won the league championship in 1902, even though they lost many of their most talented players, including Altrock, to the upstart American League (AL).  Barrow managed in the major leagues with the Detroit Tigers of the AL in 1903, finishing fifth, a thirteen-game improvement from their 1902 finish. With the Tigers, Barrow feuded with shortstop Kid Elberfeld. Tigers' owner Sam Angus sold the team to William Yawkey before the 1904 season. Barrow managed the Tigers again in 1904, but unable to coexist with Frank Navin, Yawkey's secretary-treasurer, Barrow tendered his resignation. He then managed the Montreal Royals of the Eastern League for the rest of the season. He managed the Indianapolis Indians of the Class-A American Association in 1905 and Toronto in 1906. Disheartened with baseball after finishing in last place, Barrow hired Joe Kelley to manage Toronto in 1907, and after signing the rest of the team's players, became manager of the Windsor Arms Hotel in Toronto.
Question: Did he manage another team?
Answer:
He then managed the Montreal Royals of the Eastern League for the rest of the season. He managed the Indianapolis Indians of