niryuu/sni-each-converted huggingface dataset:
Passage: The end of the Middle Ages brought with it a waning of interest in King Arthur. Although Malory's English version of the great French romances was popular, there were increasing attacks upon the truthfulness of the historical framework of the Arthurian romances – established since Geoffrey of Monmouth's time – and thus the legitimacy of the whole Matter of Britain. So, for example, the 16th-century humanist scholar Polydore Vergil famously rejected the claim that Arthur was the ruler of a post-Roman empire, found throughout the post-Galfridian medieval "chronicle tradition", to the horror of Welsh and English antiquarians. Social changes associated with the end of the medieval period and the Renaissance also conspired to rob the character of Arthur and his associated legend of some of their power to enthrall audiences, with the result that 1634 saw the last printing of Malory's Le Morte d'Arthur for nearly 200 years. King Arthur and the Arthurian legend were not entirely abandoned, but until the early 19th century the material was taken less seriously and was often used simply as a vehicle for allegories of 17th- and 18th-century politics. Thus Richard Blackmore's epics Prince Arthur (1695) and King Arthur (1697) feature Arthur as an allegory for the struggles of William III against James II. Similarly, the most popular Arthurian tale throughout this period seems to have been that of Tom Thumb, which was told first through chapbooks and later through the political plays of Henry Fielding; although the action is clearly set in Arthurian Britain, the treatment is humorous and Arthur appears as a primarily comedic version of his romance character. John Dryden's masque King Arthur is still performed, largely thanks to Henry Purcell's music, though seldom unabridged.
Output: What is the full name of the person Vergil rejected as the ruler of a post-Roman empire?
Passage: At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia Magazine)/Levi's Punk Band Thriller competition. By 1976, the Saints were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discovered that musicians were exploring similar paths in other parts of the world. Ed Kuepper, co-founder of the Saints, later recalled:
One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it [in 1976], I mean it was a great record ... but I hated it because I knew we'd been doing this sort of stuff for years. There was even a chord progression on that album that we used ... and I thought, "Fuck. We're going to be labeled as influenced by the Ramones", when nothing could have been further from the truth.
On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasties, featuring singer-guitarist Kim Salmon, formed in August. In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self-financed, packaged, and distributed the single. "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a groundbreaking record. At the insistence of their superiors in the UK, EMI Australia signed the Saints. Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye, in October. Trouser Press critic Ian McCaleb later described the record as the "archetype for the musical explosion that was about to occur".
Output: What is the name of the group that group won the RAM (Rock Australia Magazine)/Levi's Punk Band Thriller competition?
Passage: At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia Magazine)/Levi's Punk Band Thriller competition. By 1976, the Saints were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discovered that musicians were exploring similar paths in other parts of the world. Ed Kuepper, co-founder of the Saints, later recalled:
One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it [in 1976], I mean it was a great record ... but I hated it because I knew we'd been doing this sort of stuff for years. There was even a chord progression on that album that we used ... and I thought, "Fuck. We're going to be labeled as influenced by the Ramones", when nothing could have been further from the truth.
On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasties, featuring singer-guitarist Kim Salmon, formed in August. In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self-financed, packaged, and distributed the single. "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a groundbreaking record. At the insistence of their superiors in the UK, EMI Australia signed the Saints. Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye, in October. Trouser Press critic Ian McCaleb later described the record as the "archetype for the musical explosion that was about to occur".
Output: What is the name of the band that self-financed, packaged, and distributed the single "(I'm) Stranded"?
Passage: At the same time, a similar music-based subculture was beginning to take shape in various parts of Australia. A scene was developing around Radio Birdman and its main performance venue, the Oxford Tavern (later the Oxford Funhouse), located in Sydney's Darlinghurst suburb. In December 1975, the group won the RAM (Rock Australia Magazine)/Levi's Punk Band Thriller competition. By 1976, the Saints were hiring Brisbane local halls to use as venues, or playing in "Club 76", their shared house in the inner suburb of Petrie Terrace. The band soon discovered that musicians were exploring similar paths in other parts of the world. Ed Kuepper, co-founder of the Saints, later recalled:
One thing I remember having had a really depressing effect on me was the first Ramones album. When I heard it [in 1976], I mean it was a great record ... but I hated it because I knew we'd been doing this sort of stuff for years. There was even a chord progression on that album that we used ... and I thought, "Fuck. We're going to be labeled as influenced by the Ramones", when nothing could have been further from the truth.
On the other side of Australia, in Perth, germinal punk rock act the Cheap Nasties, featuring singer-guitarist Kim Salmon, formed in August. In September 1976, the Saints became the first punk rock band outside the U.S. to release a recording, the single "(I'm) Stranded". As with Patti Smith's debut, the band self-financed, packaged, and distributed the single. "(I'm) Stranded" had limited impact at home, but the British music press recognized it as a groundbreaking record. At the insistence of their superiors in the UK, EMI Australia signed the Saints. Meanwhile, Radio Birdman came out with a self-financed EP, Burn My Eye, in October. Trouser Press critic Ian McCaleb later described the record as the "archetype for the musical explosion that was about to occur".
Output: What is the name of the record described by Ian McCaleb as the "archetype for the musical explosion that was about to occur"?
Passage: Duncan McLeod, a gentleman artist and former Naval officer, assisted by his crewman Lefty Brown, engages in smuggling contraband liquor between France and Britain across the English Channel. Duncan and Lefty store the liquor at the Quiet Woman, a local pub in their coastal town, only to find one day that its complicit owner has moved away without telling them, and the pub is now being run by Jane Foster and her maid Elsie. Jane makes clear that she does not approve of activities that break the law, and demands that Duncan and Lefty remove their cache of contraband liquor from her property immediately or she will contact customs officials. Duncan and Lefty are attracted to Jane and Elsie respectively, and try to court them. The women are initially cold, but over time become more receptive to them. Unbeknownst to Duncan, Jane was unhappily married to criminal Jim Cranshaw, who is now serving a prison term. Jane is keeping her past a secret while trying to build a new, law-abiding life. 
Two new arrivals in town take rooms at the pub: Bromley, a former Navy colleague of Duncan, and Helen, an artist's model and former girlfriend of Duncan who has come in response to his request for a model to pose for his latest painting. Helen unsuccessfully attempts to rekindle the romance between herself and Duncan, who is not interested in her and is pursuing Jane. Bromley is supposedly on holiday, but in reality is a customs inspector tasked with secretly investigating Duncan's smuggling activities.
Output: What is the name of the people Jane Foster threatens to call custom officials on?
Passage: Duncan McLeod, a gentleman artist and former Naval officer, assisted by his crewman Lefty Brown, engages in smuggling contraband liquor between France and Britain across the English Channel. Duncan and Lefty store the liquor at the Quiet Woman, a local pub in their coastal town, only to find one day that its complicit owner has moved away without telling them, and the pub is now being run by Jane Foster and her maid Elsie. Jane makes clear that she does not approve of activities that break the law, and demands that Duncan and Lefty remove their cache of contraband liquor from her property immediately or she will contact customs officials. Duncan and Lefty are attracted to Jane and Elsie respectively, and try to court them. The women are initially cold, but over time become more receptive to them. Unbeknownst to Duncan, Jane was unhappily married to criminal Jim Cranshaw, who is now serving a prison term. Jane is keeping her past a secret while trying to build a new, law-abiding life. 
Two new arrivals in town take rooms at the pub: Bromley, a former Navy colleague of Duncan, and Helen, an artist's model and former girlfriend of Duncan who has come in response to his request for a model to pose for his latest painting. Helen unsuccessfully attempts to rekindle the romance between herself and Duncan, who is not interested in her and is pursuing Jane. Bromley is supposedly on holiday, but in reality is a customs inspector tasked with secretly investigating Duncan's smuggling activities.
Output: What is the full name of the person that is keeping a secret about a past marriage?
Passage: Duncan McLeod, a gentleman artist and former Naval officer, assisted by his crewman Lefty Brown, engages in smuggling contraband liquor between France and Britain across the English Channel. Duncan and Lefty store the liquor at the Quiet Woman, a local pub in their coastal town, only to find one day that its complicit owner has moved away without telling them, and the pub is now being run by Jane Foster and her maid Elsie. Jane makes clear that she does not approve of activities that break the law, and demands that Duncan and Lefty remove their cache of contraband liquor from her property immediately or she will contact customs officials. Duncan and Lefty are attracted to Jane and Elsie respectively, and try to court them. The women are initially cold, but over time become more receptive to them. Unbeknownst to Duncan, Jane was unhappily married to criminal Jim Cranshaw, who is now serving a prison term. Jane is keeping her past a secret while trying to build a new, law-abiding life. 
Two new arrivals in town take rooms at the pub: Bromley, a former Navy colleague of Duncan, and Helen, an artist's model and former girlfriend of Duncan who has come in response to his request for a model to pose for his latest painting. Helen unsuccessfully attempts to rekindle the romance between herself and Duncan, who is not interested in her and is pursuing Jane. Bromley is supposedly on holiday, but in reality is a customs inspector tasked with secretly investigating Duncan's smuggling activities.
Output: What is the full name of the person that Helen was requested to be in their painting?
Passage: Duncan McLeod, a gentleman artist and former Naval officer, assisted by his crewman Lefty Brown, engages in smuggling contraband liquor between France and Britain across the English Channel. Duncan and Lefty store the liquor at the Quiet Woman, a local pub in their coastal town, only to find one day that its complicit owner has moved away without telling them, and the pub is now being run by Jane Foster and her maid Elsie. Jane makes clear that she does not approve of activities that break the law, and demands that Duncan and Lefty remove their cache of contraband liquor from her property immediately or she will contact customs officials. Duncan and Lefty are attracted to Jane and Elsie respectively, and try to court them. The women are initially cold, but over time become more receptive to them. Unbeknownst to Duncan, Jane was unhappily married to criminal Jim Cranshaw, who is now serving a prison term. Jane is keeping her past a secret while trying to build a new, law-abiding life. 
Two new arrivals in town take rooms at the pub: Bromley, a former Navy colleague of Duncan, and Helen, an artist's model and former girlfriend of Duncan who has come in response to his request for a model to pose for his latest painting. Helen unsuccessfully attempts to rekindle the romance between herself and Duncan, who is not interested in her and is pursuing Jane. Bromley is supposedly on holiday, but in reality is a customs inspector tasked with secretly investigating Duncan's smuggling activities.
Output: What is the name of the person Duncan McLeod was not interested in?
Passage: Duncan McLeod, a gentleman artist and former Naval officer, assisted by his crewman Lefty Brown, engages in smuggling contraband liquor between France and Britain across the English Channel. Duncan and Lefty store the liquor at the Quiet Woman, a local pub in their coastal town, only to find one day that its complicit owner has moved away without telling them, and the pub is now being run by Jane Foster and her maid Elsie. Jane makes clear that she does not approve of activities that break the law, and demands that Duncan and Lefty remove their cache of contraband liquor from her property immediately or she will contact customs officials. Duncan and Lefty are attracted to Jane and Elsie respectively, and try to court them. The women are initially cold, but over time become more receptive to them. Unbeknownst to Duncan, Jane was unhappily married to criminal Jim Cranshaw, who is now serving a prison term. Jane is keeping her past a secret while trying to build a new, law-abiding life. 
Two new arrivals in town take rooms at the pub: Bromley, a former Navy colleague of Duncan, and Helen, an artist's model and former girlfriend of Duncan who has come in response to his request for a model to pose for his latest painting. Helen unsuccessfully attempts to rekindle the romance between herself and Duncan, who is not interested in her and is pursuing Jane. Bromley is supposedly on holiday, but in reality is a customs inspector tasked with secretly investigating Duncan's smuggling activities.
Output: What is the full name of the person that Duncan McLeod was romantically pursuing?
Passage: Duncan McLeod, a gentleman artist and former Naval officer, assisted by his crewman Lefty Brown, engages in smuggling contraband liquor between France and Britain across the English Channel. Duncan and Lefty store the liquor at the Quiet Woman, a local pub in their coastal town, only to find one day that its complicit owner has moved away without telling them, and the pub is now being run by Jane Foster and her maid Elsie. Jane makes clear that she does not approve of activities that break the law, and demands that Duncan and Lefty remove their cache of contraband liquor from her property immediately or she will contact customs officials. Duncan and Lefty are attracted to Jane and Elsie respectively, and try to court them. The women are initially cold, but over time become more receptive to them. Unbeknownst to Duncan, Jane was unhappily married to criminal Jim Cranshaw, who is now serving a prison term. Jane is keeping her past a secret while trying to build a new, law-abiding life. 
Two new arrivals in town take rooms at the pub: Bromley, a former Navy colleague of Duncan, and Helen, an artist's model and former girlfriend of Duncan who has come in response to his request for a model to pose for his latest painting. Helen unsuccessfully attempts to rekindle the romance between herself and Duncan, who is not interested in her and is pursuing Jane. Bromley is supposedly on holiday, but in reality is a customs inspector tasked with secretly investigating Duncan's smuggling activities.
Output: What are the names of the people who the women become more receptive to?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the name of the person whose melodies are described as simple, pleasing, easily remembered, and most often emotionally expressive?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the name of the person whose use of conventional harmony was so individual, and so immediately recognizable as his own, that it gave his music freshness and validity?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the name of the person who dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the name of the person who greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the name of the myth that Poulnec feels is excusable, because he does everything to conceal his efforts?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the last name of the man that said of the person who's music is essentially diatonic "You must accept him as a whole."?
Passage: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity."  Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav".
Output: What is the last name of the person who the man that was a painstaking craftsman had high hopes for?
Passage: The first non-album outtake from the Highway 61 Revisited sessions to be released was the single "Positively 4th Street", although on an early pressing of the single Columbia used another Highway 61 outtake, "Can You Please Crawl Out Your Window?", by mistake. "Crawl Out Your Window" was subsequently re-recorded with the Hawks in October, and released as a single in November 1965. Columbia accidentally released an alternate take of "From a Buick 6" on an early pressing of Highway 61 Revisited, and this version continued to appear on the Japanese release for several years. Other outtakes officially released between 1991 and 2005 include alternate takes of "Like a Rolling Stone" and "It Takes a Lot to Laugh, It Takes a Train to Cry", and a previously unreleased song, "Sitting on a Barbed Wire Fence", on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991, as well as alternate takes of "Desolation Row", "Highway 61 Revisited", "Just Like Tom Thumb's Blues", "Tombstone Blues", and "It Takes a Lot to Laugh, It Takes a Train to Cry" on The Bootleg Series Volume 7. Excerpts from several different takes of "Like a Rolling Stone" appeared on the Highway 61 Interactive CD-ROM, released in February 1995.In 2015, Dylan released Volume 12 of his Bootleg Series, The Cutting Edge, in three different formats. The 18-disc Collector's Edition was described as including "every note recorded during the 1965–1966 sessions, every alternate take and alternate lyric". The 18 CDs contain every take of every song recorded in the studio during the Highway 61 Revisited sessions, from June 15 to August 4, 1965.The Highway 61 Revisited out-takes from the first recording session in New York, June 15 and 16, 1965 comprise: ten takes of "It Takes A Lot To Laugh, It Takes A Train To Cry", six takes of "Sitting On A Barbed-Wire Fence", and fifteen takes of "Like A Rolling Stone". Additionally, The Cutting Edge contains four instrumental "stem" tracks, lifted from Take Four which was the released "Master take" of "Like A Rolling Stone": Guitar (Mike Bloomfield); vocal, guitar (Bob Dylan), piano and bass; drums and organ.The tracks from the second recording session in New York, July 29 to August 4, 1965, comprise seven takes of "It Takes A Lot To Laugh, It Takes A Train To Cry", sixteen takes of "Tombstone Blues", twelve takes of "Positively Fourth Street", five takes of "From A Buick 6", seventeen takes of "Can You Please Crawl Out Your Window?", nine takes of "Highway 61 Revisited", sixteen takes of "Just Like Tom Thumb's Blues", seven takes of Queen Jane Approximately", and eight takes of "Desolation Row".Describing the process of listening to these many alternative versions, Chris Gerard wrote in PopMatters: "The fact that these versions do not approach the greatness of the final recordings is exactly the point. These are works in progress. It’s a guided tour through the creative process that led to these landmark albums.".
Output: What was the name of the album Dylan released in 2015 in three different formats?
Passage: Suddenly, London goes dark and loses all of its electricity.  There is commotion at a cinema, with people demanding their money back.  The owner of the cinema, Karl Verloc, enters through a back entrance to the living quarters above, and pretends to have been asleep and not know anything of the blackout.  His wife, Mrs. Verloc comes to get him and is surprised to see him, but he informs her that he had been sleeping the entire time.  He instructs his wife to return the money to the customers – against her protests – because he has "some money coming in."  As the money is about to be disbursed to the customers downstairs, the lights go back on.  It is revealed that sand was put in the boilers as an act of sabotage on London's electricity grid.  
The next day, Verloc meets with his contact and it is revealed that he is part of a gang of terrorists from an unnamed European country who are planning a series of attacks in London, though their exact motives are not made clear. Verloc's contact is disappointed that the newspapers mocked the short loss of electricity, and instructs Verloc to place a parcel of "fireworks" at the Piccadilly London Underground station.  Verloc tells the contact that he is not comfortable with any act that would cause the loss of life.
Meanwhile, Scotland Yard suspects Verloc's involvement in the plot and assigns Detective Sergeant Ted Spencer to investigate Verloc.  Spencer is initially undercover as a greengrocer's helper next to the cinema, and befriends Mrs. Verloc and her little brother, Stevie, who lives with them, by treating them to a fancy dinner.  At this point, Spencer and Scotland Yard are unsure whether Mrs. Verloc is complicit in the terrorist plots or merely innocently unaware.
Output: Who is the brother of the boy the sergeant befriends?
Passage: Suddenly, London goes dark and loses all of its electricity.  There is commotion at a cinema, with people demanding their money back.  The owner of the cinema, Karl Verloc, enters through a back entrance to the living quarters above, and pretends to have been asleep and not know anything of the blackout.  His wife, Mrs. Verloc comes to get him and is surprised to see him, but he informs her that he had been sleeping the entire time.  He instructs his wife to return the money to the customers – against her protests – because he has "some money coming in."  As the money is about to be disbursed to the customers downstairs, the lights go back on.  It is revealed that sand was put in the boilers as an act of sabotage on London's electricity grid.  
The next day, Verloc meets with his contact and it is revealed that he is part of a gang of terrorists from an unnamed European country who are planning a series of attacks in London, though their exact motives are not made clear. Verloc's contact is disappointed that the newspapers mocked the short loss of electricity, and instructs Verloc to place a parcel of "fireworks" at the Piccadilly London Underground station.  Verloc tells the contact that he is not comfortable with any act that would cause the loss of life.
Meanwhile, Scotland Yard suspects Verloc's involvement in the plot and assigns Detective Sergeant Ted Spencer to investigate Verloc.  Spencer is initially undercover as a greengrocer's helper next to the cinema, and befriends Mrs. Verloc and her little brother, Stevie, who lives with them, by treating them to a fancy dinner.  At this point, Spencer and Scotland Yard are unsure whether Mrs. Verloc is complicit in the terrorist plots or merely innocently unaware.
Output: What is the last name of the person that Scotland yard assigns to the case?
Passage: Suddenly, London goes dark and loses all of its electricity.  There is commotion at a cinema, with people demanding their money back.  The owner of the cinema, Karl Verloc, enters through a back entrance to the living quarters above, and pretends to have been asleep and not know anything of the blackout.  His wife, Mrs. Verloc comes to get him and is surprised to see him, but he informs her that he had been sleeping the entire time.  He instructs his wife to return the money to the customers – against her protests – because he has "some money coming in."  As the money is about to be disbursed to the customers downstairs, the lights go back on.  It is revealed that sand was put in the boilers as an act of sabotage on London's electricity grid.  
The next day, Verloc meets with his contact and it is revealed that he is part of a gang of terrorists from an unnamed European country who are planning a series of attacks in London, though their exact motives are not made clear. Verloc's contact is disappointed that the newspapers mocked the short loss of electricity, and instructs Verloc to place a parcel of "fireworks" at the Piccadilly London Underground station.  Verloc tells the contact that he is not comfortable with any act that would cause the loss of life.
Meanwhile, Scotland Yard suspects Verloc's involvement in the plot and assigns Detective Sergeant Ted Spencer to investigate Verloc.  Spencer is initially undercover as a greengrocer's helper next to the cinema, and befriends Mrs. Verloc and her little brother, Stevie, who lives with them, by treating them to a fancy dinner.  At this point, Spencer and Scotland Yard are unsure whether Mrs. Verloc is complicit in the terrorist plots or merely innocently unaware.
Output: Who else lives with the cinema owner besides his wife?
Passage: The Rokeby Venus (; also known as The Toilet of Venus, Venus at her Mirror, Venus and Cupid, or  La Venus del espejo) is a painting by Diego Velázquez, the leading artist of the Spanish Golden Age.  Completed between 1647 and 1651, and probably painted during the artist's visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid. The painting is in the National Gallery, London.
Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione's Sleeping Venus (c. 1510) and Titian's Venus of Urbino (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.The Rokeby Venus is the only surviving female nude by Velázquez. Nudes were extremely rare in seventeenth-century Spanish art, which was policed actively by members of the Spanish Inquisition. Despite this, nudes by foreign artists were keenly collected by the court circle, and this painting was hung in the houses of Spanish courtiers until 1813, when it was brought to England to hang in Rokeby Park, Yorkshire. In 1906, the painting was purchased by National Art Collections Fund for the National Gallery, London. Although it was attacked and badly damaged in 1914 by the suffragette Mary Richardson, it soon was fully restored and returned to display.
Output: What is the name of the person that has a son named Cupid?
Passage: The Rokeby Venus (; also known as The Toilet of Venus, Venus at her Mirror, Venus and Cupid, or  La Venus del espejo) is a painting by Diego Velázquez, the leading artist of the Spanish Golden Age.  Completed between 1647 and 1651, and probably painted during the artist's visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid. The painting is in the National Gallery, London.
Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione's Sleeping Venus (c. 1510) and Titian's Venus of Urbino (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.The Rokeby Venus is the only surviving female nude by Velázquez. Nudes were extremely rare in seventeenth-century Spanish art, which was policed actively by members of the Spanish Inquisition. Despite this, nudes by foreign artists were keenly collected by the court circle, and this painting was hung in the houses of Spanish courtiers until 1813, when it was brought to England to hang in Rokeby Park, Yorkshire. In 1906, the painting was purchased by National Art Collections Fund for the National Gallery, London. Although it was attacked and badly damaged in 1914 by the suffragette Mary Richardson, it soon was fully restored and returned to display.
Output: What is the full name of the artist that had his painting hung in the houses of Spanish courtiers until 1813?