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.

Ex Input:
Passage: Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself.". 
Question: What is the name of the person who said Monteverdi, Mozart, Chopin, Wagner, Mussorgsky, and Stravinsky all wrote strongly coloured music?

Ex Output:
Messiaen.


Ex Input:
Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979).  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello".   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments  perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts  with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe".   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask  revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year.  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career". 
Question: What was the name of the instrumental works by Tippett that was written in a manner of the tone poem or symphonic fantasia exemplified by Sibelius?

Ex Output:
Symphony No. 4.


Ex Input:
Passage: Demonstrations began on the evening of 5 July with a protest in the Grand Bazaar, a prominent tourist site, and crowd reportedly gathering at the People's Square area. The demonstration began peacefully, and official and eyewitness accounts reported that it involved about 1,000 Uyghurs; the WUC said approximately 10,000 protesters took part.On 6 July, XUAR chairman Nur Bekri presented an official timeline of the previous day's events, according to which more than 200 demonstrators gathered in People's Square in Ürümqi at about 5 p.m. local time, and about 70 of their leaders were detained. Later, a crowd gathered in the mostly Uyghur areas of South Jiefang Road, Erdaoqiao, and Shanxi Alley; by 7:30 p.m., more than one thousand were gathered in front of a hospital in Shanxi Alley. At about 7:40 p.m., more than 300 people blocked the roads in the Renmin Road and Nanmen area. According to Bekri, rioters began to smash buses at 8:18 p.m., after police "controlled and dispersed" the crowd.How the demonstrations became violent is unclear. Some say the police used excessive force against the protesters; the World Uyghur Congress quickly issued press releases saying that the police had used deadly force and killed "scores" of protesters. Kadeer has alleged that there were agents provocateurs among the crowds. Others claim that the protesters initiated the violence; for example, an Uyghur eyewitness cited by The New York Times said protesters began throwing rocks at the police. The government's official line was that the violence was not only initiated by the protesters, but also had been premeditated and coordinated by Uyghur separatists abroad. The local public security bureau said it found evidence that many Uyghurs had travelled from other cities to gather for the riot, and that they had begun preparing weapons two or three days before the riot. 
Question: Who was said to have coordinated the protests?

Ex Output:

Uyghur separatists.