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: During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of John Cage; but when the composer Toshi Ichiyanagi returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), Corona for pianist(s) and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".Although the immediate influence of Cage's procedures did not last in Takemitsu's music—Coral Island, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of Anton Webern—certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma. Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.
For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out:
One day I chanced to see a performance of the Bunraku puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao shamisen, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music. 
Question: What is the name of the person who, through his contact with Cage, came to recognize the value of his own tradition?
[A]: Takemitsu.


[Q]: Passage: Detective Mike Hoolihan is investigating the murder of Jennifer Rockwell, an astrophysicist at an observatory in New Orleans. She had presented a talk on black holes in the evening, but was found dead in the morning by the manager of the observatory. She had been shot in the face, but there was no weapon. There is a sock and a jar of moisturizing cream found at the scene.
The manager claims that he was out all night with an associate. The sock is traced to Jennifer's boyfriend, who claims he left hurriedly to work on a new theory.
Jennifer's home is full of tchotchkes and other old nick-nacks. Mike passes out when she picks up a Florida snow globe, and imagines unique blue marbles similar to one that is on a string around her neck. When she comes to, she talks about the marble, and how she doesn't remember where it came from. She was an orphan, and has always had it.
Her co-investigator and supervisor suggest that this looks like "The .38 Caliber Killer", who killed young women, but hadn't struck in many years. The murderer always exchanged nick nacks with his victims.
While doing a more detailed search of the area, Mike finds a gun in a case, and a red scarf she had been having dreams about. The gun, a .38 revolver, is traced to the observatory manager, who admits he found it, and tried to dispose of it so he wouldn't be a suspect.
Figuring from where the gun originally lay, Mike concludes that Jennifer had shot herself. The investigators agree.
In photos of the crime scene, Mike realizes that there are no photos of the jar of moisturizing cream that she noted. When she buys a jar of the cream, she reacts as if memories come flooding back. 
Question: What is the last name of the person who talks about the marble?
[A]: Hoolihan.


[Q]: Passage: The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanović's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todić observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanović's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanović's three best works, alongside The Takovo Uprising (1894) and The Proclamation of Dušan's Law Codex (1900). This view is shared by the art historian Jelena Milojković-Djurić, as well as Judah. Filipovitch-Robinson praises Jovanović's "uncompromising realism" and commends his portrayal of the migrants. She writes that the Pančevo version "validates Jovanović as an insightful commentator on ... Balkan history", and is indicative of "the methodology and technical skill which had already brought him international acclaim." Jovanović "persuades the viewer of the believability and authenticity of the event," she writes. "He captures the determination, strength, and dignity of a people. [...] Regardless of the reasons for this migration, they move forward in unison to meet the hard challenges of an unknown land.". 
Question: What is the name of the painting that was well-received in Serbia?
[A]:
Migration of the Serbs.