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.

Input: Consider Input: Passage: Walton was a slow worker. Both during composition and afterwards he would continually revise his music; he said, "Without an india-rubber I was absolutely sunk." Consequently, his total body of work from his sixty-year career as a composer is not large. Between the first performance of Façade in 1923, for example, and that of the Sinfonia Concertante in 1928, he averaged only one small piece a year. Of his work as a whole, Byron Adams in Grove's Dictionary of Music and Musicians writes:
Walton's music has often been too neatly dismissed by a few descriptive tags: "bittersweet", "nostalgic" and, after World War II, "same as before". Such convenient categorizations ignore the expressive variety of his music and slight his determination to deepen his technical and expressive resources as he grew older. His early discovery of the basic elements of his style allowed him to assimilate successfully an astonishing number of disparate and apparently contradictory influences, such as Anglican anthems, jazz, and the music of Stravinsky, Sibelius, Ravel and Elgar.
The writer adds that Walton's allegiance to his basic style never wavered and that this loyalty to his own vision, together with his rhythmic vitality, sensuous melancholy, sly charm and orchestral flair, gives Walton's finest music "an imperishable glamour". Another biographer of Walton, Neil Tierney, writes that although contemporary critics felt that the post-war music did not match Walton's pre-war compositions, it has become clear that the later works are "if emotionally less direct, more profound.". 
Question: What is the name of the person that was influenced by Ravel?

Output: Walton.


Input: Consider Input: Passage: Steve MacKendrick, nicknamed "Canada" because he claims he is from there, volunteers in 1940 for the British military's parachute training facility. He obviously has a good deal more experience and leadership skills than he lets on. Canada tries to become better acquainted with a pretty parachute rigger named Penny Gardner. She is initially put off by his attitude, but they eventually start dating. Both Penny and his new commander, Major Snow, see potential (and a mystery that does not add up) in him, despite his strong efforts to avoid assuming any responsibility. Canada turns down Snow's offer to send him to officer school.
After completing parachute school, Canada's unit goes on a raid on the German radar station at Bruneval. An RAF radar expert, Flight Sergeant Box, accompanies the raiders to retrieve a key component to take back to Britain. The mission is a success, but Corporal Dawes, one of the men in Canada's outfit, hurts both his legs in the drop. 
Back in Britain, after visiting Dawes, Canada is recognised by an American airman. He tells Penny that he resigned his commission from the USAAF after ordering his best friend and co-pilot to parachute out of their bomber when an experimental rocket got stuck. His friend was killed when his parachute did not open properly. Canada blamed himself and refuses any responsibility that might endanger anyone's life. When Snow confronts Canada with what he has learned (from a security investigation that he has ordered), Canada wrongly assumes that Penny told what she learned, and he breaks up with her. 
Question: Who does Canada believe the parachute rigger tells his USAAF story too?

Output: Major Snow.


Input: Consider Input: Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s. 
Question: What is the first name of the person who highlighted the melody of "Sleep Talk"?


Output: Gary.