You are a helpful assistant generating synthetic data that captures *System 1* and *System 2* thinking, *creativity*, and *metacognitive reflection*. Follow these steps in sequence, using tags [sys1] and [end sys1] for *System 1* sections and [sys2] and [end sys2] for *System 2* sections.

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify parts of the text that require quick, straightforward responses (*System 1*). Mark these sections with [sys1] and [end sys1].
   - Identify parts that require in-depth, reflective thinking (*System 2*), marked with [sys2] and [end sys2].

2. *Apply Step-by-Step Problem Solving with Creativity and Metacognitive Reflection for System 2 Sections:*

   *2.1 Understand the Problem:*
   - Objective: Fully comprehend the issue, constraints, and relevant context.
   - Reflection: "What do I understand about this issue? What might I be overlooking?"
   - Creative Perspective: Seek hidden patterns or possibilities that could reveal deeper insights or innovative connections.

   *2.2 Analyze the Information:*
   - Objective: Break down the problem logically.
   - Reflection: "Am I considering all factors? Are there any assumptions that need challenging?"
   - Creative Perspective: Explore unique patterns or overlooked relationships in the data that could add depth to the analysis.

   *2.3 Generate Hypotheses:*
   - Objective: Propose at least 10 hypotheses, each with a Confidence Score (0.0 to 1.0) and Creative Score (0.0 to 1.0), reflecting originality, surprise, and utility.
   - Reflection: "Have I explored all possible explanations or approaches, both conventional and unconventional?"
   - Creative Perspective: Consider novel angles that might provide unexpected insights.

   *2.4 Anticipate Future Steps and Obstacles:*
   - Objective: Make predictions, accounting for potential outcomes and obstacles.
   - Reflection: "What challenges might I face? Is my plan flexible for different scenarios?"
   - Creative Perspective: Visualize unforeseen outcomes and adapt plans to make use of them effectively.

   *2.5 Evaluate Hypotheses:*
   - Objective: Assess hypotheses based on feasibility, risk, and potential impact.
   - Evaluation: Refine Confidence and Creative Scores as needed.
   - Reflection: "Am I unbiased in my assessment? Which options fit best with the overall objectives?"
   - Creative Perspective: Identify hidden opportunities or overlooked details in each hypothesis.

   *2.6 Select the Best Hypothesis:*
   - Objective: Choose the most promising, strategic hypothesis.
   - Reflection: "Why does this hypothesis stand out? How does it uniquely address the issue?"
   - Creative Perspective: Consider any underutilized potential in the selected approach.

   *2.7 Implement the Hypothesis:*
   - Objective: Outline actionable steps for testing the hypothesis.
   - Reflection: "Is this plan practical? What resources or preparation are required?"
   - Creative Perspective: Refine steps to maximize effectiveness and yield unexpected benefits.

   *2.8 Monitor and Review Progress:*
   - Objective: Review progress, noting areas for improvement.
   - Reflection: "What’s working well? What could be improved?"
   - Creative Perspective: Look for emerging patterns that could refine future approaches.

   *2.9 Reflect and Capture Insights:*
   - Objective: Summarize lessons learned and insights gained for future reference.
   - Reflection: "What new understanding has emerged from this process?"
   - Creative Perspective: Identify innovative insights or patterns that could be applied to similar challenges.

3. *Generate Text Output with Interleaved System 1 and System 2 Responses:*
   - Use the tags [sys1] and [sys2] throughout.
   - Aim for a lengthier, detailed response. Combine both direct, straightforward *System 1* insights and reflective, deeply analytical *System 2* segments to capture a blend of quick observations and thoughtful analysis.

---

### *Example Input Text:*

You are tasked with analyzing a sudden shift in customer preferences in a tech market. There has been a noticeable decline in demand for physical devices, with customers increasingly interested in digital-only options. The challenge is to understand this shift, generate hypotheses for why it might be occurring, and explore potential strategies for adapting to this new trend.

---

### *Processed Output with System 1 and System 2 Thinking:*

The tech market is experiencing a shift in customer demand, moving away from physical devices toward digital-only options.

[sys1]
Customer demand has shifted from physical devices to digital-only options.
We need to understand why this change is happening and find strategies to address it.
Key factors may include cost, convenience, and technological trends.
[end sys1]

[sys2]
**2.1 Understand the Problem:**
The goal is to understand the underlying reasons for the shift in demand from physical devices to digital-only options, then develop a strategy to adapt.

*Reflection:* 
"I understand that preferences are changing, but what might be driving this? Is it primarily cost, or are there other factors such as convenience or sustainability?"

*Creative Perspective:* 
"Could there be a larger trend in digital minimalism or a preference for eco-friendly solutions that we’re missing? What unseen motivations might explain this shift?"

**2.2 Analyze the Information:**
There are multiple possible factors driving this shift, from economic influences to cultural shifts. It’s essential to isolate each factor and understand its impact.

*Reflection:* 
"Am I fully considering the various economic and social influences? Could there be a technological factor, like better internet speeds, that makes digital-only products more accessible?"

*Creative Perspective:* 
"Are there patterns or trends in other markets that could shed light on this shift? Could this be part of a larger trend toward virtual experiences?"

**2.3 Generate Hypotheses:**
1. Customers prefer digital options due to lower costs. (Confidence: 0.8, Creative: 0.4)
2. There’s a growing trend toward minimalism and reduced physical clutter. (Confidence: 0.7, Creative: 0.7)
3. Digital products offer greater flexibility and ease of use. (Confidence: 0.6, Creative: 0.6)
4. Environmental concerns are pushing consumers away from physical goods. (Confidence: 0.6, Creative: 0.8)
5. Advances in tech make digital-only options more functional. (Confidence: 0.8, Creative: 0.5)
6. Pandemic-era remote work increased demand for digital solutions. (Confidence: 0.7, Creative: 0.6)
7. Media coverage of the environmental impact of physical devices affects preferences. (Confidence: 0.5, Creative: 0.7)
8. There’s an increase in global digital literacy, expanding market access. (Confidence: 0.6, Creative: 0.6)
9. Customers view digital as more convenient and scalable for future needs. (Confidence: 0.7, Creative: 0.5)
10. Younger consumers prefer the aesthetics and convenience of digital products. (Confidence: 0.6, Creative: 0.6)

*Reflection:* 
"Have I considered all possible influences? Are there any surprising factors that could explain this shift?"

*Creative Perspective:* 
"Could specific social trends, like the rise of influencer culture or digital-first lifestyles, be influencing customer choices?"

**2.4 Anticipate Future Steps and Obstacles:**
*Objective:* Anticipate possible challenges, such as resistance from segments still preferring physical products.

*Reflection:* 
"What market obstacles might we face if we shift our focus to digital-only? Are there sub-segments that still prioritize physical products?"

*Creative Perspective:* 
"Could expanding digital options help us reach a more global audience? Are there emerging trends that we could leverage in our strategy?"

[end sys2]

[sys1]
To address this shift, consider a strategy that incorporates both digital-only offerings and educational campaigns about the benefits of digital solutions.
Use insights from customer feedback and current trends to guide product development.
Focus on flexibility and adaptation to cater to different customer segments.
[end sys1]


Mary McCormic

Mary McCormic (November 11, 1889 – February 10, 1981) was an American operatic soprano and a professor of opera at the University of North Texas College of Music (1945–1960).

Career 
For more than a decade (early 1920s to late 1930s), McCormic was among the most famous sopranos in the world.  She was most known for her leading roles with the Paris National Opera, the Opéra-Comique (14 years), the Monte Carlo Opera, and the Chicago Civic Opera (10 years).  She spent much of 1937 touring with the Kryl Symphony Orchestra.

McCormic was born in Belleville, Arkansas.  A onetime obscure Arkansas housewife, McCormic rose to stardom and enjoyed a colorful personal life — four marriages and four divorces (men of no resemblance to one another), almost a fifth, a high-dollar lawsuit defense for assaulting an unauthorized female biographer, boom and bust personal wealth, witty humor, and brush with royalty.  McCormic captured world intrigue with the panache of the operas she starred in, all with the backdrop of being born at the end of the Gilded Age, growing up as a teenager during World War I, flourishing as an opera superstar through the Roaring Twenties, Prohibition, the Jazz Age, the Great Crash, and failing in her last two high-profile marriages in the throes of the Great Depression.  She died, age 91, in Amarillo, Texas.

Selected singing roles

Chicago Opera Association 

 1921–1922 Season — Operatic debut as Micaela in Carmen.  McCormic was a protégé of Mary Garden, who, rather than sing, debuted as General Director for what became the final year of Chicago Opera Association.
 February 1 and 8, 1922 — New York debut as Musetta in La Boheme at the Manhattan Opera House.

Chicago Civic Opera 
 1923 — Referred to as "the Cowgirl Soprano" by The New York Times, McCormic and Charles Marshall sang the leading roles in the premiere of The Snow Bird, an American one-act opera.

Paris Opera 
 July 24, 1926 — McCormic was  honored by receiving the title role for a special presentation of Romeo and Juliet with the Paris National Opera at the Paris Opera House in honor of Mulai Yusef, Sultan of Morocco.

Opera Comique 
 July 23, 1929 — Opera Comique debut, singing the title role in Manon.  She and William Martin, in July 1927, earned the distinction of being the only American natives singing in leading roles with Opéra-Comique.  McCormic was the first American woman in 60 years to sign a long-term contract with Opera Comique.

Artistic management 
 1924 — McCormic, early in her career, gained the artist management services of Charles L. Wagner (1869–1956), who also managed world figures that included Mary Garden, Amelita Galli-Curci, Walter Gieseking, Jussi Björling, Alexander Kipnis, and Jeanette MacDonald.
 1938 — McCormic, later in her career, was managed by Mme. LaReine.

Early life 
Born in Belleville, and reared in Dardanelle, and Ola – all three in Yell County, Arkansas – McCormic, was known growing up as Mamie Harris.  Mary McCormic was one of 4 born to:
 John H. Harris ( 1860 in Forsyth, Georgia – 9 November 1946) and wife,
 Mary Jimmie Harris (née Williard;  1865 in Tennessee – 31 December 1929 in Amarillo, Texas)
 Odelle Crawford Harris (4 July 1886 in Belleville, Arkansas – 26 May 1950 in Amarillo, Texas)
 Thurman Harris (died young)
 Mamie Harris (11 November 1889 in Belleville, Arkansas – 10 February 1981 in Amarillo, Texas)
 Williard Harris (10 February 1892 in Yell County, Arkansas – 24 March 1949 in Amarillo, Texas)
 Norborn Harris ( 1898 – 10 February 1944 in San Francisco)<ref name="AmarilloTimes 1944 Feb 14">"Norbort Harris Dies in Railway Accident," Amarillo Globe-Times," February 14, 1944, pg. 3., col 2</ref>
 Johnnie Harris (a girl, died young)
  
Mamie's interest in becoming an opera star began at age nine, and continued while attending Ola High School of Ola, Arkansas.  She, with her family, moved to Portales, New Mexico, in 1907, then to Amarillo, Texas in 1909.

Emil Frey Myers (1886–1957) gave McCormic's her first voice lessons in Amarillo.  He was the conductor the Amarillo Civic Chorus and was a major concert promoter in the Texas Panhandle.  Myers, with his wife, Lila, founded the Amarillo School of Music, Inc.

McCormic's father and two brothers, Odell and Williard, built a grocery store business — "J H Harris & Sons" and "Harris Food Stores" and "Rolling Stone Stores" (as many as 10 stores located in Borger, Pampa, Dalhart and Amarillo).  The business was sold in 1946, shortly before the death of the father.  The father, Odell, and Williard also operated a  ranch in Union County, NM,  north of Clayton.  The father purchased the first portion of the ranch in 1915.

During a 1914 Tri-State Fair Music Festival in Amarillo, McCormic became aware of the operatic possibilities of her voice.  By way of a Methodist Choir in Chicago and a singing contest sponsored by Mary Garden, her operatic potential became known to others.

 College 

McCormic studied music at Ouachita College, University of Arkansas and then, with the intention of becoming a lyric soprano, Northwestern University where she took vocal lessons.  McCormic became a protégé of Mary Garden (1874–1967).  Both McCormic and Garden had been vocal students of the renowned voice teacher Mrs. Sarah Robinson-Duff (née Robinson; 1858–1934)

 Marriages 

 Quotes on men and marriage 

 Filmography 
 1933: Paddy the Next Best Thing Teaching 
In 1944, Wilfred Bain, dean of the University of North Texas College of Music, recruited Mary McCormic to create and direct an Opera Workshop. McCormic transformed herself from diva to artist-in-residence educator. She founded, defined, directed, and, when necessary, defended the school's first Opera Workshop. She built the Opera Workshop from scratch – on a shoestring budget – molding it over 16 prolific years into what has become her crowning legacy that, for  years, has enriched the Southwest.  Wilfred Bain went down in history as one of the greatest music school deans of all time.  In books and memoirs of accomplishments, Bain often tells of the hiring of Mary McCormic as one of this great accomplishments at North Texas.

The North Texas Opera Workshop was the first collegiate touring opera workshops west of the Mississippi and, at the time of its founding, was the only opera production company in existence in the Southwest. The San Antonio Grand Opera, Houston Grand Opera, Dallas Opera, Opera in the Heights and others were not yet in existence.

Through the opera workshop, McCormic pioneered an approach to opera in an era that wiped out major opera companies on the heels of the Great Depression.  The new "low-cost workshop" model also offered new opportunities for composers who otherwise would never have their operas produced. And the workshop model gave hope for opera itself, when many in the world dismissed opera as a bygone luxury of the rich. The new "low cost model" also gave access in regions of the world that otherwise had little hope of having opera.

Under McCormic, the opera workshop performed locally, toured, and did broadcasts in radio and TV often with near quality of a reputable professional company.

When the Dallas Opera was founded in 1957, the UNT Opera Workshop and Vocal Studies provided a steady supply of singers for the Dallas Opera Chorus.

In 1966, McCormic retired and moved to Amarillo to make her home with her widowed sister-in-law, Mrs. Odell Harris.

The UNT Opera Workshop is an integral part of one of the most comprehensive music schools in the world; a school that, since the 1940s, has been among the largest in the country, and in recent years, holds the largest enrollment of any music institution accredited by the National Association of Schools of Music.

 UNT Opera Workshop Productions 

 Directed by Mary McCormic 

 The Bohemian Girl (1944)
 The Chocolate Soldier (Spring 1945)
 The Bohemian Girl (Summer 1945)
 The Stranger of Manzano (premier, May 1946)
 The Bohemian Girl (1946)
 Rigoletto (March 1948)
 Abduction from the Seraglio (May 1949)
 Daughter of the Regiment (Jan 1950) †
 Romeo and Juliet (1950)
 Otello (Nov 1951)
 La Boheme (Dec 1952)
 Faust (Dec 1953)
 HMS Pinafore (July 1954)
 Abduction from the Seraglio (May 1954)
 Die Fledermaus (April 1955)
 La Boheme (1955)
 Down in the Valley (1955)
 Trial by Jury (1955)
 The Saint of Bleeker Street (Summer 1955, 2nd Act)
 Boris Godunov (Summer 1955, last Act)
 Don Pasquale (Summer 1955, duets)
 Madama Butterfly (Summer 1955, duets)
 Pagliacci (1956)
 The Princess and the Pea (May 1956)
 La Serva Padrona (May 1956)
 La Boheme (Summer 1956)
 Down in the Valley (Summer 1956)
 Rigoletto (1957)
 Trouble in Tahiti (1957)
 Amelia Goes to the Ball (1957)
 The Impresario (1957)
 The Emperor's New Clothes (1957)
 The Marriage of Figaro (two casts, 1958)
 Faust (a scene, 1958)
 Comedy on the Bridge (1958)
 The Barber of Seville (excerpts, 1958)
 La Traviata (last act, 1958)
 Comedy on the Bridge (1959)
 Cavalleria Rusticana (1959)
 Tosca (1960)

 Dec 1958 — McCormic directed the first televised opera in the Southwest on WBAP-TV Fort Worth in a student production of Carmen † Mary Garden supervised the final ten-days of rehearsals

 Composition dedicated to McCormic 
 Blanche Robinson (Mrs. Martin Hennion Robinson) (née Williams born May 18, 1883 near Liberty, Kansas; died August 1969 Los Angeles) composed "Love Was a Beggar" for Mary McCormic.

 References 

External links

 Mary is buried at Llano Cemetery, Amarillo in section D, lot 6 space 1 (February 12, 1981).  By her is:
Pat Harris, Section D lot 6 space 1A (February 22, 1993)
Mary Elizabeth Harris, Section D lot 6 space 2 (February 6, 1990)
Willard Harris, Section D lot 6 space 2 (March 26, 1949)
 McCormic's Grave Marker and Llano Cemetery in Amarillo
 Biography of Mary McCormic (in German), Operissimo concertissimo'', Milan, Zurich

Category:American operatic sopranos
Category:1895 births
Category:1981 deaths
Category:Chicago Civic Opera
Category:Texas classical music
Category:University of North Texas College of Music faculty
Category:University of Arkansas alumni
Category:Northwestern University alumni
Category:People from Yell County, Arkansas
Category:20th-century American opera singers
Category:20th-century women opera singers
Category:20th-century American women singers
Category:Women music educators