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: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.
[A]: What is the name of the person that never published a response, Seconda Pratica?


[Q]: Passage: Public transport in the city consists primarily of a First West of England bus network. Other providers are Abus, Stagecoach West, Stagecoach South West and Wessex Bus. Bristol's bus service has been criticised as unreliable and expensive, and in 2005 FirstGroup was fined for delays and safety violations.Although the city council has included a light rail system in its local transport plan since 2000, it has not yet funded the project; Bristol was offered European Union funding for the system, but the Department for Transport did not provide the required additional funding. The most recent light rail proposal was put forward as part of a consultation produced by the West of England Local Enterprise Partnership in November 2016, outlining potential light rail/tram routes from the city centre to Bristol Airport, the eastern and north west fringes of the city, and a route along the A4 road to Bath. In 2017, a further feasibility study will be undertaken into the possibility of an underground light rail system.A new bus rapid transit system (BRT) called MetroBus, is currently under construction across Bristol, as of 2018, to provide a faster and more reliable service than buses, improve transport infrastructure and reduce congestion. The MetroBus rapid transit scheme will run on both bus lanes and segregated guided busways on three routes; North Fringe to Hengrove (route m1), Ashton Vale to Bristol Temple Meads (route m2), and Emersons Green to The Centre (route m3). MetroBus services started in 2018.Three park and ride sites serve Bristol.
The city centre has water transport operated by Bristol Ferry Boats, Bristol Packet Boat Trips and Number Seven Boat Trips, providing leisure and commuter service in the harbour.
[A]: Number Seven Boat Trips operates water transport in what city?


[Q]: Passage: Aaron Copland wrote that although Fauré's works can be divided into the usual "early", "middle" and "late" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Fauré in even the earliest works, and traces of the early Fauré in the works of his old age: "The themes, harmonies, form, have remained essentially the same, but with each new work they have all become more fresh, more personal, more profound." When Fauré was born, Berlioz and Chopin were still composing; the latter was among Fauré’s early influences. In his later years Fauré developed compositional techniques that foreshadowed the atonal music of Schoenberg, and, later still, drew discreetly on the techniques of jazz. Duchen writes that early works such as the Cantique de Jean Racine are in the tradition of French nineteenth-century romanticism, yet his late works are as modern as any of the works of his pupils.Influences on Fauré, particularly in his early work, included not only Chopin but Mozart and Schumann. The authors of The Record Guide (1955), Sackville-West and Shawe-Taylor, wrote that Fauré learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, "and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated." His work was based on the strong understanding of harmonic structures that he gained at the École Niedermeyer from Niedermeyer's successor Gustave Lefèvre. Lefèvre wrote the book Traité d'harmonie (Paris, 1889), in which he sets out a harmonic theory that differs significantly from the classical theory of Rameau, no longer outlawing certain chords as "dissonant". By using unresolved mild discords and colouristic effects, Fauré anticipated the techniques of Impressionist composers.In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as "the Brahms of France". The music critic Jerry Dubins suggests that Fauré "represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy."To Sackville-West and Shawe-Taylor, Fauré's later works do not display the easy charm of his earlier music: "the luscious romantic harmony which had always been firmly supported by a single tonality, later gave way to a severely monochrome style, full of enharmonic shifts, and creating the impression of several tonal centres simultaneously employed.".
[A]:
What is the name of the individual who was among Fauré’s early influences?