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.

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?
Takemitsu.

Passage: The geography and ecology of the Everglades involve the complex elements affecting the natural environment throughout the southern region of the U.S. state of Florida. Before drainage, the Everglades were an interwoven mesh of marshes and prairies covering 4,000 square miles (10,000 km2). The Everglades is simultaneously a vast watershed that has historically extended from Lake Okeechobee 100 miles (160 km) south to Florida Bay (around one-third of the southern Florida peninsula), and many interconnected ecosystems within a geographic boundary. It is such a unique meeting of water, land, and climate that the use of either singular or plural to refer to the Everglades is appropriate. When Marjory Stoneman Douglas wrote her definitive description of the region in 1947, she used the metaphor "River of Grass" to explain the blending of water and plant life.
Although sawgrass and sloughs are the enduring geographical icons of the Everglades, other ecosystems are just as vital, and the borders marking them are subtle or nonexistent. Pinelands and tropical hardwood hammocks are located throughout the sloughs; the trees, rooted in soil inches above the peat, marl, or water, support a variety of wildlife. The oldest and tallest trees are cypresses, whose roots are specially adapted to grow underwater for months at a time. The Big Cypress Swamp is well known for its 500-year-old cypresses, though cypress domes can appear throughout the Everglades. As the fresh water from Lake Okeechobee makes its way to Florida Bay, it meets salt water from the Gulf of Mexico; mangrove forests grow in this transitional zone, providing nursery and nesting conditions for many species of birds, fish, and invertebrates. The marine environment of Florida Bay is also considered part of the Everglades because its sea grasses and aquatic life are attracted to the constant discharge of fresh water.
These ecological systems are always changing due to environmental factors. Geographic features such as the Western Flatwoods, Eastern Flatwoods, and the Atlantic Coastal Ridge affect drainage patterns. Geologic elements, climate, and the frequency of storms and fire are formative processes for the Everglades. They help to sustain and transform the ecosystems in the Shark River Valley, Big Cypress Swamp, coastal areas and mangrove forests. Ecosystems have been described as both fragile and resilient. Minor fluctuations in water levels have far-reaching consequences for many plant and animal species, and the system cycles and pulses with each change. 
Question: What type of system does minor fluctuations in water levels have far-reaching consequences for?
Ecosystems.

Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the firsts names the original preliminary ensemble?

Lucrezia.