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.

Q: Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?

A: Viñes.
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Q: Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage. 
Question: What  videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography?

A: Single Ladies.
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Q: Passage: Altar 1 is found at the base of Stela 1. It is rectangular in shape with carved molding on its side.Altar 2 is of unknown provenance, having been moved to outside the administrator's house on the San Isidro Piedra Parada plantation. It is 1.59 metres (63 in) long, about 0.9 metres (35 in) wide and about 0.5 metres (20 in) high. It represents an animal variously identified as a toad and a jaguar. The body of the animal was sculptured to form a hollow 85 centimetres (33 in) across and 26 centimetres (10 in) deep. The sculpture was broken into three pieces.Altar 3 is a roughly worked flat, circular altar about 1 metre (39 in) across and 0.3 metres (12 in) high. It was probably associated originally with a stela but its original location is unknown, it was moved near to the manager's house on the San Isidro Piedra Parada plantation.Altar 5 is a damaged plain circular altar associated with Stela 2.Altar 7 is near the southern edge of the plaza on Terrace 3, where it is one of five monuments in a line running east-west.Altar 8 is a plain monument associated with Stela 5, positioned on the west side of Structure 12.Altar 9 is a low four-legged throne placed in front of Structure 11.Altar 10 was associated with Stela 13 and was found on top of the large offering of ceramics associated with that stela and the royal tomb in Structure 7A. The monument was originally a throne with cylindrical supports that was reused as an altar in the Classic period.Altar 12 is carved in the early Maya style and archaeologists consider it to be an especially early example dating to the first part of the Late Preclassic. Because of the carvings on the upper face of the altar, it is supposed that the monument was originally erected as a vertical stela in the Late Preclassic, and was reused as a horizontal altar in the Classic. At this time 16 hieroglyphs were carved around the outer rim of the altar. The carving on the upper face of the altar represents a standing human figure portrayed in profile, facing left. The figure is flanked by two vertical series of four glyphs. A smaller profile figure is depicted facing the first figure, separated from it by one of the series of glyphs. The central figure is depicted standing upon a horizontal band representing the earth, the band is flanked by two earth monsters. Above the figure is a celestial band with part of the head of a sacred bird visible in the centre. The 16 glyphs on the rim of the monument are formed by anthropomorphic figures mixed with other elements. 
Question: What is carved on the outer rim of Altar 12 and are formed by anthropomorphic figures mixed with other elements?

A:
16 hieroglyphs.
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