In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Ex Input:
Passage: During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of John Cage; but when the composer Toshi Ichiyanagi returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), Corona for pianist(s) and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".Although the immediate influence of Cage's procedures did not last in Takemitsu's music—Coral Island, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of Anton Webern—certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma. Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.
For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out:
One day I chanced to see a performance of the Bunraku puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao shamisen, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music. 
Question: What is the name of the person who, through his contact with Cage, came to recognize the value of his own tradition?

Ex Output:
Takemitsu.


Ex Input:
Passage: Gabriel Urbain Fauré (French: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically  complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a small boy. At the age of nine, he was sent to a music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, Fauré was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned. 
Question: What is the last name of the person whose most accessible compositions are generally his earlier ones?

Ex Output:
Fauré.


Ex Input:
Passage: White Deer Hole Creek is a 20.5-mile (33.0 km) tributary of the West Branch Susquehanna River in Clinton, Lycoming and Union counties in the U.S. state of Pennsylvania. A part of the Chesapeake Bay drainage basin, the White Deer Hole Creek watershed drains parts of ten townships. The creek flows east in a valley of the Ridge-and-valley Appalachians, through sandstone, limestone, and shale from the Ordovician, Silurian, and Devonian periods.
As of 2006, the creek and its 67.2-square-mile (174 km2) watershed are relatively undeveloped, with 28.4 percent of the watershed given to agriculture and 71.6 percent covered by forest, including part of Tiadaghton State Forest. The western part of White Deer Hole Creek has very high water quality and is the only major creek section in Lycoming County classified as Class A Wild Trout Waters, defined by the Pennsylvania Fish and Boat Commission as "streams which support a population of naturally produced trout of sufficient size and abundance to support a long-term and rewarding sport fishery." The rest of the creek and its major tributary (Spring Creek) are kept stocked. There are opportunities in the watershed for canoeing, hunting, and camping, and trails for hiking and horseback riding.
Historically, two paths of the native indigenous peoples ran along parts of White Deer Hole Creek. Settlers arrived by 1770, but fled in 1778 during the American Revolutionary War. They returned and the creek served as the southern boundary of Lycoming County when it was formed on April 13, 1795. A logging railroad ran along the creek from 1901 to 1904 for timber clearcutting, and small-scale lumbering continues. During World War II a Trinitrotoluene (TNT) plant, which became a federal prison in 1952, was built in the watershed. Most development is in the eastern end of the valley, with two unincorporated villages, a hamlet, and most of the farms (many Amish). 
Question: What was the acronym for the type of plant that was built in the watershed and later became a federal prison?

Ex Output:

TNT.