niryuu/sni-each-converted huggingface dataset:
Passage: The first film screening in Turkey was at Yıldız Palace in 1896, a year after the technology publicly debuted in Paris. Movie theaters rapidly cropped up in Beyoğlu, with the greatest concentration of theaters being along the street now known as İstiklal Avenue. Istanbul also became the heart of Turkey's nascent film industry, although Turkish films were not consistently developed until the 1950s. Since then, Istanbul has been the most popular location to film Turkish dramas and comedies. The Turkish film industry ramped up in the second half of the century, and with Uzak (2002) and My Father and My Son (2005), both filmed in Istanbul, the nation's movies began to see substantial international success. Istanbul and its picturesque skyline have also served as a backdrop for several foreign films, including From Russia with Love (1963), Topkapi (1964), The World Is Not Enough (1999), and Mission Istaanbul (2008).Coinciding with this cultural reemergence was the establishment of the Istanbul Festival, which began showcasing a variety of art from Turkey and around the world in 1973. From this flagship festival came the International Istanbul Film Festival and the Istanbul International Jazz Festival in the early 1980s. With its focus now solely on music and dance, the Istanbul Festival has been known as the Istanbul International Music Festival since 1994. The most prominent of the festivals that evolved from the original Istanbul Festival is the Istanbul Biennial, held every two years since 1987. Its early incarnations were aimed at showcasing Turkish visual art, and it has since opened to international artists and risen in prestige to join the elite biennales, alongside the Venice Biennale and the São Paulo Art Biennial. 
Question: What early incarnations were aimed at showcasing Turkish visual art?
Output: the Istanbul Biennial.
Passage: 1974, the present. Dorothy Yates lives with her husband Edmund in an isolated farmhouse in Haslemere, Surrey. They have just been released from a mental institution to which they were committed in 1957 after it was found Dorothy was a cannibal who killed and partially ate at least six people. It is later revealed that her cannibalism can be understood as an attempt to cope with a childhood trauma when she found out that she had eaten parts of her pet rabbit that her parents had cooked and served as dinner. Although her husband Edmund was convicted, it is later revealed that he only faked his dementia in order to remain with his wife. He is a truly devoted husband who loves his wife dearly and does not take part in the actual acts of murder in 1957 and in the present, only helping in covering them up. Now, it seems as if Dorothy has had a severe relapse. She secretly lures lonely young people to her home, promising tea and a tarot card reading, only with the sessions ending with a violent murder and "feast".  
Jackie, Edmund's daughter by previous marriage, lives in London but secretely visits her dad and stepmum at night to bring her parcels containing animal brain, thereby implicitly feigning to commit murders for her so as to contain Dorothy's murderous urges. At the same time, Jackie tries to control her 15-year-old stepsister Debbie, Dorothy's actual daughter that she and Edmund had shortly before being committed to the asylum. Debbie has been recently thrown out of the orphanage. She now stays with Jackie and rides with her boyfriend Alec, head of a violent biker gang. Debbie incites Alec to start a fight with a barman in one of London's hip nightclubs because he denied her liquor due to her being underage. When they get thrown out, the bike gang later ambush and assault the barman with a chain but leave when spotted. Debbie, however, decides to stay behind and hides the body in the trunk of a car before the police arrive. 
Question: What is the first name of the mother of Alec's girlfriend?
Output: Dorothy.
Passage: While visiting a health studio in Beverly Hills, fashion model Jennifer Downing, the daughter of millionaire P.J. Downing, is kidnapped. Her father turns to a family friend, Eliot Draisen, who is president of the detective agency Crumb & Crumb, to investigate the case.
Eliot is reluctant to supply P.J. with one of his capable detectives because, as it turns out, Eliot himself is the organizer of the kidnapping. To give the appearance of taking the investigation seriously, Eliot offers P.J. the services of Harry Crumb, the last descendant of the agency's founders. Eliot knows that Harry is incompetent and counts on this fact to get away with the crime.
Harry returns to Los Angeles (by bus) from an assignment in the firm's Tulsa, Oklahoma branch office (which he messed up, as usual). He is assisted in his investigation by P.J.'s younger daughter, Nikki, who is considerably smarter than he is. Harry deduces that Nikki's stepmother, Helen Downing, is having an affair with tennis coach Vince Barnes, and concludes she is behind the kidnapping. Helen is desired by Eliot, but all she is interested in is money. She tries to get rid of her husband on several occasions and does her best – along with Barnes – to get the ransom for herself.
Also assigned to the case is Police Detective Casey, who (unlike Harry) is competent and experienced in kidnapping cases, and has a strongly negative opinion of private eyes and Harry Crumb is no exception. Casey throughout the course of the film builds a rivalry with Harry. 
Question: Whose wife is having an affair with the tennis coach?
Output: P.J. Downing.
Passage: Following top secret experiments, people called "viewers" have developed the psychic ability to enter people's memories. John Washington, a recent widower, is one such gifted individual or "viewer." Washington works for Mindscape, the world's top memory detective agency, which offers the abilities of their psychic employees to help solve criminal cases, although their findings aren't yet recognized as evidence in court.
During a session that goes wrong, John suffers a stroke and is left incapacitated for two years. Financially ruined, he still owns the beach house where his wife died, but refuses to sell it. Desperate for money, John asks his old superior, Sebastian (Brian Cox), for a new job. The case he receives is that of a brilliant but troubled 16-year-old girl, Anna Greene, who is on a hunger strike. Her stepfather wants her sent to a mental institution, which Anna's mother and Anna herself are adamantly against. John is sent to end her hunger strike.
John and Anna begin their therapy sessions, focusing on Anna's time at a prestigious girl's school and several incidents that happened there. John finds himself drawn to Anna, while, at the same time, remaining wary of her. Anna's maid, Judith, who John had just started dating, is thrown down the stairs, and Anna is blamed for the incident. John also harbors suspicions towards Anna's stepfather, who he believes has hired a mysterious man to shadow him, as well as towards Sebastian, who John learns has withheld a file on Anna from him. Anna's behavior towards John becomes more flirtatious, and she draws a portrait of him with the caption, "You are my only safe place.". 
Question: What is the last name of the person who is accused of throwing Judith down the steps?
Output: Greene.
Passage: A poacher hides from an unknown creature in his boat. While it breaks through the boat and attempts to catch the poacher, he commits suicide by shooting himself dead to prevent the beast from killing him.
Meanwhile while shooting a documentary about a long-lost indigenous tribe, the Shirishamas, on the Amazon River, director Terri Flores and members of her crew including cameraman Danny Rich, production manager Denise Kalberg, her boyfriend, sound engineer Gary Dixon, visionary Warren Westridge, anthropologist Professor Steven Cale, and boat skipper Mateo come across stranded Paraguayan snake hunter Paul Serone and help him, believing he knows how to find the tribe they are searching for.
Most of the crew are uncomfortable around Serone, and Cale clashes with him several times in regards to Shirishama lore. Later, while trying to free the boat's propeller from a rope, Cale is stung in the throat by a wasp inside his scuba regulator, which swells his throat shut and leaves him unconscious. Serone performs an emergency cricothyrotomy, seemingly saving Cale's life. With that, Serone takes command and captain of the boat and the crew. They are then forced to help him achieve his true task: hunting down and capturing a giant record-breaking female green anaconda he had been tracking the whole time.
Later, Mateo gets lost and is the first to be killed by the anaconda, which coils around him before it snaps his neck near the boat where the poacher had been killed. A photograph in an old newspaper reveals that Mateo, Serone, and the unnamed poacher were actually working together to catch animals, including snakes. The others try to find him while Gary sides with Serone, who promises if they help him find the anaconda, he will help them get out alive. 
Question: What is the full name of the production manager's boyfriend?
Output: Gary Dixon.
Passage: Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult (1853–1950), and his wife Katharine Florence née Barman (d. 1927). Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy. When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by Hans Richter. He was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, and Richard Strauss. His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend.At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor Hugh Allen. Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend. In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, and all his life he remained a member of the Leander Club. 
Question: What is the last name of the person whose free time was spent attending concerts?
Output: Boult.
Passage: Richard Gaddis is a small-time crook with a penchant for con games. To hook marks, he acts like a well-to-do businessman, dressing like one and driving a Mercedes-Benz S500, believing that one must look like a professional in order to be a successful conman.
Gaddis is searching for a new partner with whom he can perform more sophisticated cons.  He discovers Rodrigo after he sees the young man playing some minor con games in a casino-bar.  When Rodrigo is caught, Gaddis acts the part of a vice officer to save him from being arrested.  Rodrigo's contribution is a face and naive manner so trustable that he is able to con anyone, while Richard is both completely unprincipled and clever.  After several small tests to determine Rodrigo's trustworthiness, he suggests a partnership, to which Rodrigo quickly agrees.
Although Rodrigo distrusts Richard greatly, he agrees to partner him on a gigantic scam, provided he gets a percentage of the money gained to help his ailing father, who is in trouble because of his gambling debts.   Richard accepts, and they plan to sell a fraudulent version of a silver certificate currency note to William Hannigan, a rich collector who is in town.
Gyllenhaal plays Gaddis' sister Valerie, a concierge at a hotel.  When Hannigan takes a fancy to the uptight but very sexy Valerie, Gaddis is forced to pull her into the scam, the price of which is Richard's admission to their brother Michael that he has cheated him out of his share of their inheritance. The plot twists constantly as each of the characters becomes more deeply invested in the scam, and the ever-deceitful Richard tries to cheat Rodrigo, Valerie and Michael out of their share of the take.
In the twist ending, it is revealed that all the major players involved, including Rodrigo and Hannigan, were playing a confidence game against Gaddis from the very beginning, so that Valerie and Michael could rightfully take their share of their inheritance. 
Question: What is the last name of the person that is interested in the sister of the small-time crook?
Output: Hannigan.
Passage: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period.  This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. 
Question: What are the last names of the three artists who are considered the first rank and most influential of the early generation of Early Netherlandish painters?
Output: Van Eyck.
Passage: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period.  This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. 
Question: What are the last names of the three artists who are considered the first rank and most influential of the early generation of Early Netherlandish painters?
Output: Campin.
Passage: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period.  This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. 
Question: What are the last names of the three artists who are considered the first rank and most influential of the early generation of Early Netherlandish painters?
Output: van der Weyden.
Passage: The Runaway Scrape events took place mainly between September 1835 and April 1836, and were the evacuations by Texas residents fleeing the Mexican Army of Operations during the Texas Revolution, from the Battle of the Alamo through the decisive Battle of San Jacinto. The ad interim government of the new Republic of Texas and much of the civilian population fled eastward ahead of the Mexican forces. The conflict arose after Antonio López de Santa Anna abrogated the 1824 constitution of Mexico and established martial law in Coahuila y Tejas. The Texians resisted and declared their independence. It was Sam Houston's responsibility, as the appointed commander-in-chief of the Provisional Army of Texas (before such an army actually existed), to recruit and train a military force to defend the population against troops led by Santa Anna.
Residents on the Gulf Coast and at San Antonio de Béxar began evacuating in January upon learning of the Mexican army's troop movements into their area, an event that was ultimately replayed across Texas. During early skirmishes, some Texian soldiers surrendered, believing that they would become prisoners of war — but Santa Anna demanded their executions. The news of the Battle of the Alamo and the Goliad massacre instilled fear in the population and resulted in the mass exodus of the civilian population of Gonzales, where the opening battle of the Texian revolution had begun and where, only days before the fall of the Alamo, they had sent a militia to reinforce the defenders at the mission. The civilian refugees were accompanied by the newly forming provisional army, as Houston bought time to train soldiers and create a military structure that could oppose Santa Anna's greater forces. Houston's actions were viewed as cowardice by the ad interim government, as well as by some of his own troops. As he and the refugees from Gonzales escaped first to the Colorado River and then to the Brazos, evacuees from other areas trickled in and new militia groups arrived to join with Houston's force.
The towns of Gonzales and San Felipe de Austin were burned to keep them out of the hands of the Mexican army. Santa Anna was intent on executing members of the Republic's interim government, who fled from Washington-on-the-Brazos to Groce's Landing to Harrisburg and New Washington. The government officials eventually escaped to Galveston Island, and Santa Anna burned the towns of Harrisburg and New Washington when he failed to find them. Approximately 5,000 terrified residents of New Washington fled from the Mexican army. After a little over a month of training the troops, Houston reached a crossroads where he ordered some of them to escort the fleeing refugees farther east while he took the main army southeast to engage the Mexican army. The subsequent Battle of San Jacinto resulted in the surrender of Santa Anna and the signing of the Treaties of Velasco. 
Question: What town surrendered as a result of the Battle of San Jacinto?
Output: Santa Anna.
Passage: On 10 June 1859, the 19-year-old Tchaikovsky graduated as a titular counselor, a low rung on the civil service ladder. Appointed to the Ministry of Justice, he became a junior assistant within six months and a senior assistant two months after that. He remained a senior assistant for the rest of his three-year civil service career.Meanwhile, the Russian Musical Society (RMS) was founded in 1859 by the Grand Duchess Elena Pavlovna (a German-born aunt of Tsar Alexander II) and her protégé, pianist and composer Anton Rubinstein. Previous tsars and the aristocracy had focused almost exclusively on importing European talent. The aim of the RMS was to fulfill Alexander II's wish to foster native talent. It hosted a regular season of public concerts (previously held only during the six weeks of Lent when the Imperial Theaters were closed) and provided basic professional training in music. In 1861, Tchaikovsky attended RMS classes in music theory taught by Nikolai Zaremba at the Mikhailovsky Palace (now the Russian Museum). These classes were a precursor to the Saint Petersburg Conservatory, which opened in 1862. Tchaikovsky enrolled at the Conservatory as part of its premiere class. He studied harmony and counterpoint with Zaremba and instrumentation and composition with Rubinstein.The Conservatory benefited Tchaikovsky in two ways. It transformed him into a musical professional, with tools to help him thrive as a composer, and the in-depth exposure to European principles and musical forms gave him a sense that his art was not exclusively Russian or Western. This mindset became important in Tchaikovsky's reconciliation of Russian and European influences in his compositional style. He believed and attempted to show that both these aspects were "intertwined and mutually dependent". His efforts became both an inspiration and a starting point for other Russian composers to build their own individual styles. 
Question: What is the name of the person who studied harmony and counterpoint with Zaremba?
Output: Tchaikovsky.
Passage: Bacon's output is characterised by sequences of images. He told Sylvester that his imagination was stimulated by sequences and that "images breed other images in me". His series were not always planned or painted in sequence; sometimes paintings are grouped for convenience but vary in execution and tone. The idea for the head series came after he returned penniless, late in 1948, from a stay in Tangier. In the previous three years he had been unable to find a voice; the last surviving canvas from this period is his Painting (1946). Although he continued to paint, he was a ruthless self-critic, given to slashing canvases with blades, and no works survive from between 1947 and the winter of 1948. Gallerist Erica Brausen offered Bacon the opportunity of a solo show for the opening of her new Hanover Gallery. He agreed, but had nothing in reserve to hang. In following years, Brausen became perhaps the most important of Bacon's early champions; she arranged this showing—his debut solo exhibition—publicised him widely and organised viewings for international buyers.Already 40 years old, Bacon viewed the exhibition as his last chance and applied himself to the task with determination. Because he had destroyed all his output of the last three years, he had little choice but to present new works. He did not have a grand plan when he agreed to the show, but eventually found themes that interested him in his Head I of the previous year, and executed five progressively stronger variants in the final weeks before the November exhibition, completing the series barely in time for the opening. 
Question: What is the name of the person who did not have a grand plan when he agreed to the show, but eventually found themes that interested him in his Head I of the previous year?
Output: Bacon.
Passage: In Sweden, juries are uncommon; the public is represented in the courts by means of lay judges (nämndemän). However, the defendant has the right to a jury trial in the lower court (tingsrätt) when accused of an offense against the fundamental laws on freedom of expression and freedom of the press. If a person is accused of e.g. libel or incitement to ethnic or racial hatred, in a medium covered by the fundamental laws (e.g. a printed paper or a radio programme), she has the right to have the accusation tried by a jury of nine jurors. This applies also in civil (tort) cases under the fundamental laws. A majority of at least six jurors must find that the defendant has committed the alleged crime. If it does not, the defendant is acquitted or, in a civil case, held not liable. If such a majority of the jurors hold that said crime has in fact been committed, this finding is not legally binding for the court; thus, the court (three judges) can still acquit the defendant or find him/her not liable. A jury acquittal may not be overruled after appeal. In Swedish civil process, the "English rule" applies to court costs. Earlier, a court disagreeing with a jury acquittal could, when deciding on the matter of such costs, set aside the English rule, and instead use the American rule, that each party bears its own expense of litigation. This practice was declared to violate the rule of presumption of innocence according to article 6.2. of the European Convention on Human Rights, by the Supreme Court of Sweden, in 2012. 
Question: Who has the right to have the accusation tried by a jury of nine jurors?
Output: the defendant.
Passage: By this time, Etty had developed a great admiration for the portrait painter Thomas Lawrence, and hoped to learn from him. Having arranged an introduction via Henry Fuseli, Etty's uncle William met with Lawrence and paid him 100 guineas (about £8,200 in 2019 terms) in return for his accepting the younger William as a private pupil for a year.Under this arrangement Etty did not receive formal tuition from Lawrence. Instead, Lawrence set aside a room in his attic for Etty to copy from his pictures, and agreed to answer questions when he was in a position to do so. Etty found the experience of copying Lawrence's work extremely frustrating, and in his own words "was ready to run away", but he persisted and eventually taught himself to copy Lawrence's work very closely. Although Etty found his year with Lawrence a frustrating experience, his development of the ability to copy other works served him in good stead in future when he came to copy elements from the Old Masters.Once he had completed his year with Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings, as well as undertaking commissions and doing occasional work for Lawrence to earn money. He was unsuccessful in all the Academy's competitions, and every painting he submitted for the Summer Exhibition was rejected.In 1809 Etty's uncle William, with whom he had been staying, died. He was forced into an inconvenient transient lifestyle, moving from lodging to lodging. Etty had been left a significant sum in his uncle's will, and his brother Walter now took over their uncle's position at Bodley, Etty and Bodley, giving Walter the means to support the younger William's work financially. In 1811 Etty's persistence paid off. Two of his paintings were accepted for the Telemachus Rescues Antiope from the Fury of the Wild Boar exhibition at the Royal Academy Summer Exhibition, and Sappho at the British Institution. The latter sold for the respectable sum of 25 guineas (about £1,800 in 2019 terms). Although from now on Etty had at least one work accepted for the Summer Exhibition each year, he had little commercial success and generated little interest over the next few years. By 1814, Etty was becoming widely respected at the RA for his use of colour and in particular his ability to produce realistic flesh tones. 
Question: Who became respected for his ability to produce realistic flesh tones?
Output: Etty.
Passage: The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.
The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E♭ dominant 7 superimposed on a triad of E, G♯ and B. White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard. The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the accent, on and off the beat, before the dance ends in a collapse, as if from exhaustion. Alex Ross has summed up the pattern as follows:
According to Roger Nichols (1978, p7) “At first sight there seems no pattern in the distribution of accents to the stamping chords.  Taking the initial quaver of bar 1 as a natural accent we have for the first outburst the following groups of quavers: 9, 2, 6, 3, 4, 5, 3. However, these apparently random numbers make sense when split into two groups:
Clearly the top line is decreasing, the bottom line increasing, and by respectively decreasing and increasing amounts …Whether Stravinsky worked them out like this we shall probably never know.  But the way two different rhythmic ‘orders’ interfere with each other to produced apparent chaos is… a typically Stravinskyan notion." The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts". It concludes in a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main tune.
Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession. The music then comes to a virtual halt, "bleached free of colour" (Hill), as the Sage blesses the earth. The "Dance of the Earth" then begins, bringing Part I to a close in a series of phrases of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation". 
Question: What concludes in a series of flute trills that usher in the "Spring Rounds"?
Output: The "Ritual of Abduction".
Passage: The 1896 French colonisation of Madagascar brought an end to the rule of the Merina sovereigns. The Rova of Antananarivo was converted into a museum the following year, and the Fitomiandalana tombs were excavated and moved to a new location behind the tombs of Radama I and Rasoherina. The bodies of sovereigns previously interred in the royal tombs at Ambohimanga were exhumed and transferred to the tombs in the Rova grounds, a sacrilegious move that degraded the status of Ambohimanga as a site of sacred pilgrimage. According to Frémigacci (1999), French colonial administrator General Joseph Gallieni undertook this desacralisation of the Rova in an attempt to break popular belief in the power of the royal ancestors. By the same token, his actions relegated Malagasy sovereignty under the Merina rulers to a relic of an unenlightened past.  The desecration of the two most sacred sites of Merina royalty represented a calculated political move intended to establish the political and cultural superiority of the colonial power.Following independence the Rova compound remained largely closed to the public throughout the First (1960–1972) and Second (1975–1992) Republics except on special occasions.  In 1995, three years into the Third Republic (1992–2010), the Rova compound was destroyed by fire. The tombs, chapel, exterior of Manjakamiadina and two traditional wooden houses (Besakana and Mahitsy) have since been restored with further restorations planned to continue until at least 2013. 
Question: What was the last name of the person whose actions relegated Malagasy sovereingnty under the Merina rulers to a relic of an unenlightened past>?
Output: Gallieni.
Passage: Bush starred in the 1990 black comedy film Les Dogs, produced by The Comic Strip for BBC television. Bush plays the bride Angela at a wedding set in a post-apocalyptic Britain. In another Comic Strip Presents film, GLC, she produced and sang on the theme song "Ken". The song was written about Ken Livingstone, the leader of the Greater London Council and future mayor of London, who at the time was working with musicians to help the Labour Party garner the youth vote.Bush wrote and performed the song "The Magician", using a fairground-like arrangement, for Menahem Golan's 1979 film The Magician of Lublin. The track was scored and arranged by Michael Kamen. In 1986, she wrote and recorded "Be Kind to My Mistakes" for the Nicolas Roeg film Castaway. An edited version of this track was used as the B-side to her 1989 single "This Woman's Work". In 1988, the song "This Woman's Work" was featured in the John Hughes film She's Having a Baby, and a slightly remixed version appeared on Bush's album The Sensual World. The song has since appeared on television shows, and in 2005 reached number-eight on the UK download chart after featuring in a British television advertisement for the charity NSPCC.In 1999, Bush wrote and recorded a song for the Disney film Dinosaur, but the track was not included on the soundtrack. According to the winter 1999 issue of HomeGround, a Bush fanzine, it was scrapped when Disney asked her to rewrite the song and she refused. Also in 1999, Bush's song "The Sensual World" was featured prominently in Canadian filmmaker Atom Egoyan's film "Felicia's Journey".In 2007, Bush was asked to write a song for The Golden Compass soundtrack which made reference to the lead character, Lyra Belacqua. The song, "Lyra", was used in the closing credits of the film, reached number 187 in the UK Singles Chart and was nominated for the International Press Academy's Satellite Award for original song in a motion picture. According to Del Palmer, Bush was asked to compose the song on short notice and the project was completed in 10 days. 
Question: What is the name of the person who refused Disney's request to rewrite the song for the film Dinosaur?
Output: Bush.
Passage: Marcus Templeton is a thirty-year-old, unmarried security guard who describes himself as "a lonely, desperate man." He works at night and spends his days looking at pornography and takes to peeping into windows in the hopes of seeing naked women. Marcus is slightly overweight and spends a fair amount of screen time obsessing about his physical health, finally resorting to wearing a corset and using questionable weight-loss products such as Reduce-O-Creme, which promises to "melt, melt, melt your fat away" upon application. 
After several disastrous attempts at dating women, Marcus resorts to seeing prostitutes. He begins to secretly record his encounters with the call girls, first with a small tape recorder and then with a hidden video camera. He quickly spends his entire life savings and contracts sexually transmitted diseases, all the while losing his grip on reality (his father "appears" on the television screen and berates Marcus). 
When a disagreeable prostitute discovers she is being surreptitiously videotaped, she pulls a handgun out of her purse, shoots Marcus and steals his video equipment. As Marcus lies bleeding to death he grabs the nearby bottle of Reduce-O-Creme and applies it to his belly in a final, futile gesture. 
Question: What is the first name of the person who works at night?
Output: Marcus.
Passage: After the breakup of the Pixies, Santiago went into a depression for the first couple of years but remained on good terms with bandmate Black Francis (who soon adopted the name Frank Black). Black, who was recording his 1993 debut album, Frank Black, contacted Santiago to ask whether he would contribute lead guitar. Santiago agreed, and he and Mallari drove from their home in Florida to Los Angeles. The couple ended up moving into Black's old apartment in L.A. on a whim. Santiago played lead guitar on a number of Frank Black's solo albums, including Teenager of the Year (1994), and contributed lead guitar to Steve Westfield's 1994 album Mangled. He also formed The Martinis a year later with Mallari. Their recorded output by the end of the 1990s comprised a single song, the self-recorded "Free" (1995), which appeared on the film soundtrack of Empire Records. The band played live only occasionally until 2001.In the mid-1990s, Santiago began to explore audio editing software. After composing for several independent films, including Crime and Punishment in Suburbia in 2000 (where he collaborated again with Black), Santiago co-scored the Fox Network TV series Undeclared with Michael Andrews. He continued to contribute lead guitar to albums, collaborating with Charles Douglas on his 2004 album Statecraft. He scored the 2003 film The Low Budget Time Machine and wrote two songs, "Birthday Video" and "Fake Purse," for the Showtime television series Weeds in 2005.
Mallari and Santiago continued to write new material as part of the Martinis, but no longer played live. Their debut album, Smitten, took two years to write and was released in 2004; the pair collaborated with a number of musicians, including drummer Josh Freese, during the recording. Santiago described the album as "a lot poppier and quirkier" than the band's previous material. The band simultaneously released The Smitten Sessions, a limited edition EP. 
Question: What are the names of the two individuals whose recorded output by the end of the 1990s comprised a single song, the self-recorded "Free"?
Output: Santiago.
Passage: After the breakup of the Pixies, Santiago went into a depression for the first couple of years but remained on good terms with bandmate Black Francis (who soon adopted the name Frank Black). Black, who was recording his 1993 debut album, Frank Black, contacted Santiago to ask whether he would contribute lead guitar. Santiago agreed, and he and Mallari drove from their home in Florida to Los Angeles. The couple ended up moving into Black's old apartment in L.A. on a whim. Santiago played lead guitar on a number of Frank Black's solo albums, including Teenager of the Year (1994), and contributed lead guitar to Steve Westfield's 1994 album Mangled. He also formed The Martinis a year later with Mallari. Their recorded output by the end of the 1990s comprised a single song, the self-recorded "Free" (1995), which appeared on the film soundtrack of Empire Records. The band played live only occasionally until 2001.In the mid-1990s, Santiago began to explore audio editing software. After composing for several independent films, including Crime and Punishment in Suburbia in 2000 (where he collaborated again with Black), Santiago co-scored the Fox Network TV series Undeclared with Michael Andrews. He continued to contribute lead guitar to albums, collaborating with Charles Douglas on his 2004 album Statecraft. He scored the 2003 film The Low Budget Time Machine and wrote two songs, "Birthday Video" and "Fake Purse," for the Showtime television series Weeds in 2005.
Mallari and Santiago continued to write new material as part of the Martinis, but no longer played live. Their debut album, Smitten, took two years to write and was released in 2004; the pair collaborated with a number of musicians, including drummer Josh Freese, during the recording. Santiago described the album as "a lot poppier and quirkier" than the band's previous material. The band simultaneously released The Smitten Sessions, a limited edition EP. 
Question: What are the names of the two individuals whose recorded output by the end of the 1990s comprised a single song, the self-recorded "Free"?
Output: Mallari.
Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later. 
Question: What is the full name of the person that said his expressive qualities are truly deserving of the highest commendation?
Output: Adriano Banchieri.
Passage: The Romney Literary Society, which built Literary Hall between 1869 and 1870, was organized by nine prominent men in Romney on January 30, 1819. With its establishment in 1819, the Romney Literary Society became the first literary organization of its kind in the present-day state of West Virginia, and one of the first in the United States. On February 4, 1819, the constitution of the society was adopted, which provided that the organization should be known as the "Polemic Society of Romney". The society founded its library in 1819 with the acquisition of two books, and by 1861 the society's humble library had grown to contain approximately 3,000 volumes, consisting of books on literature, science, history and art.
The Romney Literary Society commenced a movement to establish an institution for "the higher education of the youth of the community". As a result of this initiative, the teaching of the classics was introduced into the curriculum of Romney Academy in 1820, thus making the institution the first school of higher education in the Eastern Panhandle. In 1846, the society constructed a new building to house the Romney Classical Institute and its library, both of which fell under the society's supervision.The Romney Literary Society and the Romney Classical Institute both flourished and continued to grow in importance and influence until the onset of the Civil War in 1861. During the war, many members fought for the Confederate States Army forces and were killed during the conflict. The contents of the society's library were plundered by Union Army forces, and many of its 3,000 volumes were either scattered or destroyed. Following the war's end, only 400 of those volumes could be recovered, with just 200 remaining on the library's shelves.The Romney Literary Society reorganized on May 15, 1869. Following the reorganization, the society built Literary Hall between 1869 and 1870 while also undertaking an initiative to bring the West Virginia Schools for the Deaf and Blind to its old Romney Classical Institute campus. The construction of Literary Hall was part of the society's effort to revive the organization and reassemble its original library. The society set about recovering original volumes and purchasing new ones, and the library reopened with 700 volumes. For a period of ten years between 1870 and 1880, much of Romney's intellectual life centered on Literary Hall. As older members died, interest in the society began to dwindle. The society's meetings were held less frequently, and its last recorded meeting was held on February 15, 1886. 
Question: What event increased the reputation and standing of the society that was organized by nine prominent men?
Output: Civil War.