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: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What is the title of the symphony that draws little on the folk-songs beloved by the composer?

Ex Output:
A Pastoral Symphony.


Ex Input:
Passage: As of the 2001 UK census, Herne Bay area wards had a population of 35,188 and a population density of 11.3 persons per hectare.Of the town's 14,732 households, 48.7% were married couples living together, 8.4% were cohabiting couples and 8.3% were lone parents. 30.2% of all households were made up of individuals and 20.5% had someone living alone at pensionable age. 27.7% of households included children aged under 16 or a person aged 16 to 18 who was in full-time education. The average household size was 2.74.
The ethnicity of the town was 98.5% white, 0.6% mixed race, 0.4% Asian, 0.2% black and 0.3% Chinese or other. The place of birth of residents was 96.3% United Kingdom, 0.6% Republic of Ireland, 0.3% Germany, 0.6% other Western Europe countries, 0.2% Eastern Europe, 0.6% Africa, 0.3% Far East, 0.3% South Asia, 0.2% Middle East, 0.2% North America and 0.2% Oceania. Religion was recorded as 77.3% Christian, 0.3% Muslim, 0.2% Hindu, 0.2% Buddhist, 0.1% Jewish and 0.1% Sikh. 14.2% were recorded as having no religion, 0.3% had an alternative religion and 7.4% did not state their religion.
For every 100 females, there were 89.9 males. The age distribution was 6% aged 0–4 years, 14% aged 5–15 years, 4% aged 16–19 years, 29% aged 20–44 years, 25% aged 45–64 years and 22% aged 65 years and over. The town had a high percentage of residents over 65, compared with the national average of 16%. As a seaside town, Herne Bay is a popular retirement destination; many modern retirement complexes are located near the seafront.
The economic activity of residents aged 16–74 was 36% in full-time employment, 13% in part-time employment, 9% self-employed, 3% unemployed, 2% students with jobs, 3% students without jobs, 18% retired, 7% looking after home or family, 6% permanently sick or disabled and 2% economically inactive for other reasons. This was roughly in line with the national figures, except for the number of people in retirement. This figure nationally was significantly lower at 14%. Of the town's residents aged 16–74, 12% had a higher education qualification or the equivalent, compared with 20% nationwide. According to Office for National Statistics estimates, during the period of April 2001 to March 2002 the average gross weekly income of households in the Herne Bay area was £516 (£26,906 per year). 
Question: What percentage of Herne Bay area residents practice Christianity?

Ex Output:
77.3%.


Ex Input:
Passage: Constance Stokes (née Parkin, 22 February 1906 – 14 July 1991) was a modernist Australian painter who worked in Victoria. She trained at the National Gallery of Victoria Art School until 1929, winning a scholarship to continue her study at London's Royal Academy of Arts. Although Stokes painted few works in the 1930s, her paintings and drawings were exhibited from the 1940s onwards. She was one of only two women, and two Victorians, included in a major exhibition of twelve Australian artists that travelled to Canada, the United Kingdom and Italy in the early 1950s.
Influenced by George Bell, Stokes was part of the Melbourne Contemporary Artists, a group Bell established in 1940. Her works continued to be well-regarded for many years after the group's formation, in contrast to those by many of her Victorian modernist colleagues, with favourable reviews from critics such as Sir Philip Hendy in the United Kingdom and Bernard William Smith in Australia.
Her husband's early death in 1962 forced Stokes to return to painting as a career, resulting in a successful one-woman show in 1964, her first in thirty years. She continued to paint and exhibit through the 1970s and 1980s, and was the subject of a retrospective exhibition that toured Victorian regional galleries including Swan Hill Regional Art Gallery and Geelong Art Gallery in 1985. She died in 1991 and is little-known in comparison to some other women artists including Grace Cossington Smith and Clarice Beckett, but her fortunes were revived somewhat as a central figure in Anne Summers' 2009 book The Lost Mother. Her art is represented in most major Australian galleries, including the National Gallery of Australia and the National Gallery of Victoria; the Art Gallery of New South Wales is the only significant Australian collecting institution not to hold one of her works. 
Question: What was the full name of the person whose work continued to be well-regarded for many years after the group's formation?

Ex Output:

Constance Stokes.