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: 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. 
Question: What is the first name of the person that received letters in 1632 showing that the man who was a target of musical controversy was still preparing a defence of the seconda practica?

A: Giovanni.
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Q: Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style. 
Question: What is the name of the album that Rick Reger said it was between the Beach Boys and Kraftwerk?

A: Cobra and Phases Group Play Voltage in the Milky Night.
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Q: Passage: By this time, Etty had developed a great admiration for the portrait painter Thomas Lawrence, and hoped to learn from him. Having arranged an introduction via Henry Fuseli, Etty's uncle William met with Lawrence and paid him 100 guineas (about £8,200 in 2019 terms) in return for his accepting the younger William as a private pupil for a year.Under this arrangement Etty did not receive formal tuition from Lawrence. Instead, Lawrence set aside a room in his attic for Etty to copy from his pictures, and agreed to answer questions when he was in a position to do so. Etty found the experience of copying Lawrence's work extremely frustrating, and in his own words "was ready to run away", but he persisted and eventually taught himself to copy Lawrence's work very closely. Although Etty found his year with Lawrence a frustrating experience, his development of the ability to copy other works served him in good stead in future when he came to copy elements from the Old Masters.Once he had completed his year with Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings, as well as undertaking commissions and doing occasional work for Lawrence to earn money. He was unsuccessful in all the Academy's competitions, and every painting he submitted for the Summer Exhibition was rejected.In 1809 Etty's uncle William, with whom he had been staying, died. He was forced into an inconvenient transient lifestyle, moving from lodging to lodging. Etty had been left a significant sum in his uncle's will, and his brother Walter now took over their uncle's position at Bodley, Etty and Bodley, giving Walter the means to support the younger William's work financially. In 1811 Etty's persistence paid off. Two of his paintings were accepted for the Telemachus Rescues Antiope from the Fury of the Wild Boar exhibition at the Royal Academy Summer Exhibition, and Sappho at the British Institution. The latter sold for the respectable sum of 25 guineas (about £1,800 in 2019 terms). Although from now on Etty had at least one work accepted for the Summer Exhibition each year, he had little commercial success and generated little interest over the next few years. By 1814, Etty was becoming widely respected at the RA for his use of colour and in particular his ability to produce realistic flesh tones. 
Question: Who became respected for his ability to produce realistic flesh tones?

A:
Etty.
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