In this task, you're given a context passage, followed by a question that needs to be answered. Based on the paragraph, you must write unambiguous answers to the questions and your answer must refer to a specific phrase from the paragraph. If multiple answers seem to exist, write the answer that is the most plausible.

Ex Input:
A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score. 
Question: What is the name of the person who drew upon the lyrics of poets that included Marot, Léon-Paul Fargue, Leconte de Lisle, and Verlaine?

Ex Output:
Ravel


Ex Input:
Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-Köthen. Bach wrote the work as a  serenata for the celebration of New Year's Day 1719. The libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances. Later, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Third Day of Easter 1724, Ein Herz, das seinen Jesum lebend weiß. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music. The cantata, written for a specific occasion, has been performed and recorded rarely, compared with other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred Dürr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which Dürr had focused. 
Question: What is the fist name of the person who wrote the text of Die Zeit, die Tag und Jahre macht?

Ex Output:
Christian


Ex Input:
Sheyann Webb sees Dr. Martin Luther King, Jr. going into Brown Chapel AME Church one day while playing outside with her friends. They are told that Dr. King has come to Selma, Alabama to help the Negro people get voting rights. Sheyann learns many things from Dr. King. He teaches her and her friend Rachel that when asked, "Children, what do you want?" their answer should be "Freedom." He also teaches her that everyone deserves to be treated with fairness, regardless of the color of their skin, and that children also have a battle to fight. Sheyann wants to get involved and skips school to sneak into the meetings. One night a friend of Sheyann's named Jimmie Lee Jackson is killed. To draw attention to the death of Jimmie Lee Jackson, it is decided that a 54-mile march to the state capital of Alabama will take place. Marchers will present a petition to Governor Wallace to protest that Negroes are not being treated fairly. On Sunday, March 7, 1965, a day that comes to be called Bloody Sunday, Sheyann and other African-American protesters march over the Edmund Pettus Bridge en route to Montgomery, and are attacked by police. Sheyann is the youngest person to attempt to march. In August, President Lyndon Johnson signs the Voting Rights Act of 1965, to oversee and enforce constitutional rights of suffrage and prevent discriminatory measures, such as use of literacy tests against potential voters. 
Question: What is the full name of the person who has a friend named Rachel?

Ex Output:

Sheyann Webb