In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

[Q]: Passage: All rock now exposed in the area of the park is volcanic, but this has not always been the case. For hundreds of millions of years, the Lassen region underwent repeated uplifting to form mountains, only to have them worn down and submerged under encroaching seas. During the periods of submersion, sand, mud and limestone were deposited. Occasionally volcanic activity was associated with the mountain building.
About 70 million years ago, the area where the Cascade Range is now situated was under the most recent encroachment by the Pacific Ocean. The rocks that make up the modern Sierra Nevada and the Klamath Mountains were already in existence but deeply buried. Some 70 million years before (140 million years before present), the rocks that now make up the Klamaths broke away from the rocks that now make up the Sierras and moved 60 mi (97 km) west, leaving the flooded 'Lassen Strait.' This broad depression was a seaway that connected the marine basin in California with that in east central Oregon.The entire western portion of North America was being deformed from the Laramide orogeny starting around 70 million years ago. Gradually during millions of years, crustal rocks were folded and fractured and the seas driven away. This same bending and breaking of rocks relieved pressure on the hot material beneath the Earth's crust and permitted magma to rise toward the surface. Volcanoes burst into activity starting 30 million years ago from Washington southward along the Cascades and in the area now occupied by the Sierra Nevada. This activity continued until approximately 11 or 12 million years ago. Lava and ash reached a thickness of up to 10,000 ft (3,000 m) in some areas, forming what is now known as the western Cascades. These have been eroded until they are now rolling hills.
Meanwhile, toward the end of this activity, eruptions of a different kind took place on an unprecedented scale in eastern Oregon and Washington. From innumerable cracks, floods of highly fluid basaltic lava spread to cover an area of over 200,000 sq mi (520,000 km2). Now known as the Columbia Plateau, this great lava bed of flood basalt covers much of Oregon, Washington and even parts of Idaho. Northern California's Modoc Plateau is a thinner basaltic flow which some geologists associate with the Columbia Plateau, but there are technical objections to this. The High Cascades took shape as a distinct mountain belt as a result of this upheaval and the bending of the thick blanket of volcanic rocks. During the next 10 million years, a series of new basaltic volcanic cones similar to the shield volcanoes now found in Hawaii were built.
[A]: What is the modern name for the area that formed after floods of highly fluid basaltic lava spread to cover an area of over 200,000 sq mi?


[Q]: Passage: The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.
The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E♭ dominant 7 superimposed on a triad of E, G♯ and B. White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard. The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the accent, on and off the beat, before the dance ends in a collapse, as if from exhaustion. Alex Ross has summed up the pattern as follows:
According to Roger Nichols (1978, p7) “At first sight there seems no pattern in the distribution of accents to the stamping chords.  Taking the initial quaver of bar 1 as a natural accent we have for the first outburst the following groups of quavers: 9, 2, 6, 3, 4, 5, 3. However, these apparently random numbers make sense when split into two groups:
Clearly the top line is decreasing, the bottom line increasing, and by respectively decreasing and increasing amounts …Whether Stravinsky worked them out like this we shall probably never know.  But the way two different rhythmic ‘orders’ interfere with each other to produced apparent chaos is… a typically Stravinskyan notion." The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts". It concludes in a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main tune.
Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession. The music then comes to a virtual halt, "bleached free of colour" (Hill), as the Sage blesses the earth. The "Dance of the Earth" then begins, bringing Part I to a close in a series of phrases of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation".
[A]: What concludes in a series of flute trills that usher in the "Spring Rounds"?


[Q]: Passage: Nickie Ferrante, a well-known playboy, meets Terry McKay aboard the transatlantic ocean liner SS Constitution en route from Europe to New York. Each is involved with someone else. After a series of meetings aboard the ship, they establish a friendship. When Terry joins Nickie on a brief visit to his grandmother Janou while the ship is anchored near her home at Villefranche-sur-Mer on the Mediterranean coast, she sees Nickie with new eyes and their feelings become deeper. During their visit, Janou tells Terry that Nickie is a talented painter but destroys most of his paintings because they don't meet his standards. As the ship returns to New York City, they agree to reunite at the top of the Empire State Building in six months' time if they have succeeded in ending their relationships and starting new careers.
On the day of their rendezvous, Terry, hurrying to reach the Empire State Building, is struck down by a car while crossing a street. Gravely injured, she is rushed to the hospital. Meanwhile, Nickie, waiting for her at the observation deck at the top of the building, is unaware of the accident and, after many hours, leaves at midnight, believing she has rejected him.
After the accident, Terry, now unable to walk, refuses to contact Nickie because of her disability. Instead, she finds work as a music teacher. Nickie has pursued his painting and has his work displayed by Courbet, an art shop owner. Six months after the accident, Terry sees Nickie with his former fiancée at the ballet, which she herself is attending with her former boyfriend. Nickie does not notice her condition because she is seated, and she says hello as he passes her.
[A]:
What is Terry's condition that goes unnoticed by Nickie when he sees her at the ballet?