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: By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with Expo '70 in Osaka, he was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants Lukas Foss, Peter Sculthorpe, and Vinko Globokar. Later that year, as part of a commission from Paul Sacher and the Zurich Collegium Musicum, Takemitsu incorporated into his Eucalypts I parts for international performers: flautist Aurèle Nicolet, oboist Heinz Holliger, and harpist Ursula Holliger.Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo flute (1971), Waves for clarinet, horn, two trombones and bass drum (1976), Quatrain for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as In an Autumn Garden for gagaku orchestra (1973), and A Flock Descends into the Pentagonal Garden for orchestra (1977).Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of Green (for orchestra, 1967) and A Flock Descends into the Pentagonal Garden (1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s. The former, Green (or November Steps II) written 10 years earlier, is heavily influenced by Debussy, and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work. Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period.
His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it.".
[A]: What was the name of the person whose experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in their output?


[Q]: Passage: One of the most persistent and popular stories regarding the Mormon pioneers was about three of the rescuers who helped the pioneers cross Sweetwater River.  The most popular telling, by Solomon Kimball, states:
Three eighteen-year-old boys belonging to the relief party came to the rescue; and to the astonishment of all who saw, carried nearly every member of that ill-fated handcart company across the snow-bound stream. The strain was so terrible, and the exposure so great, that in later years all the boys died from the effects of it. When President Brigham Young heard of this heroic act, he wept like a child, and later declared publicly, "That act alone will ensure C. Allen Huntington, George W. Grant, and David P. Kimball an everlasting salvation in the Celestial Kingdom of God, worlds without end.
This version was quoted by Gordon B. Hinckley, James E. Faust and was previously taught in Sunday School in the LDS Church for both adults and children.Chad Orton notes it would be physically impossible for three boys to carry five hundred people across the river in two hours.  In actuality, the rescue party had several rescuers instead of three, eighteen of which have been positively identified as being at the Sweetwater crossing.  The rescuers brought ten rescue wagons in addition to the wagons the Martin Company had with them. Many survivors wrote about riding the wagons across.  However, because of time constraints, not everyone could ride the wagons. Some were carried, but other survivors wrote that they crossed the river themselves or with the help of people other than the three boys.  The boys mentioned in the story did help some people across, but not "nearly every member" as reported in the mythologized version of the story. While the three boys were among those that helped several across, the ages were wrong. C. Allen Huntington was 24, David P. Kimball was 17, and George W. Grant was 16.  There is no medical evidence that they died from effects of the crossing, and most lived active and relatively long lives.  Outside of Kimball's account, there is no other account of Brigham Young promising everlasting salvation to the rescuers based on a single act. Orton notes that such a promise is inconsistent with church doctrine.  John Thomas notes that Solomon Kimball did not witness the crossing, but relied heavily on other sources, particularly Orson F. Whitney's 1888 account, who also claimed that all of the boys died from the event, even though Huntington was still alive in 1888.
[A]: What are the names of the three eighteen-year-olds who helped the pioneers cross Sweetwater River?


[Q]: Passage: "Don't Stop the Music" was written and produced by the Norwegian production duo StarGate, with additional songwriting by Tawanna Dabney. Michael Jackson received a songwriting credit for the sampling of the line "Mama-say, mama-sa, ma-ma-ko-ssa" from his 1983 single "Wanna Be Startin' Somethin'". Tim Sturges and Phillip Ramos provided additional production for the song. It was recorded at Battery Studios in New York City and Westlake Recording Studios in Los Angeles by Mikkel S. Eriksen and Al Hemberger. Phil Tan and Josh Houghkirk mixed the single, and StarGate provided vocal production and instrumentation.In February 2009, Cameroonian musician Manu Dibango filed a lawsuit claiming that "Don't Stop the Music" and "Wanna Be Startin' Somethin'" used the "Mama-say, mama-sa, ma-ma-ko-ssa" hook without his permission. According to Dibango, the line is from his 1972 single "Soul Makossa". Agence France-Presse reported that Jackson admitted that he borrowed the line for "Wanna Be Startin' Somethin'" and settled out of court. When Rihanna asked Jackson in 2007 for permission to sample the line, he allegedly approved the request without contacting Dibango beforehand. Dibango's attorneys brought the case before a court in Paris, demanding €500,000 in damages and asking for Sony BMG, EMI and Warner Music to be "barred from receiving 'mama-say mama-sa'-related income until the matter is resolved". The judge ruled that Dibango's claim was inadmissible: a year earlier, a different Paris-area judge had required Universal Music to include Dibango's name in the liner notes of future French releases of "Don't Stop the Music", and at the time of this earlier court appearance, Dibango had withdrawn legal action, thereby waiving his moral right to seek further damages."Don't Stop the Music" was the fourth single from Rihanna's third album, Good Girl Gone Bad (2007). Before its release, two promotional remixes of the song (Solitaire's More Drama and the Wideboys Club Mix) were added to digital outlets in Canada and the United States on August 7, 2007. On September 7, an EP of the single was released via the iTunes Store in some countries including Australia, Italy, New Zealand and Spain. The EP contains the Wideboys Club Mix and instrumental and album versions of the song. That day, "Don't Stop the Music" was released as a CD single in Germany with the same material as the EP and the song's music video. The following month, it was released as a CD single in France. Def Jam Recordings provided the song to contemporary hit radio stations in the United States on January 15, 2008, and to rhythmic contemporary stations a week later. Nine remixes, including the album version of the song, were released on May 14 to digital outlets in territories including Australia, Germany, New Zealand and Spain.
[A]:
What is the name of the song Michael Jackson was given songwriting credit for use of a line from one of his songs?