Question: Which University had been around longer by the time Pustõlnik graduated from Odessa University, the University of Tartu or Odessa University? Passage 1:A native of the Ukrainian port city of Odessa (a part of the Soviet Union until 1991), Izold Pustõlnik graduated cum laude from Odessa University in 1960 and received his Ph.D. from the University of Tartu in 1969 and his D.Sc. from Saint Petersburg State University in 1994. From the age of 27 in 1965 until his death forty-three years later, he was on the staff of Tartu Observatory where, as a research associate (promoted to senior research associate in 2000), he worked on the physics of close binary systems, theory of stellar atmospheres, interstellar medium, archaeoastronomy and history of astronomy. He was also a member of the International Astronomical Union, European Astronomical Society, Euroscience, Society for European Astronomy in Culture (SEAC) and served on the Board of Euro-Asian Astronomical Society and the Advisory Board of Astronomical and Astrophysical Transactions. 
 Passage 2:In 1986, Talk Talk, then a three-piece band consisting of leader and singer Mark Hollis alongside drummer Lee Harris and bassist Paul Webb, released their third album The Colour of Spring, which saw the band shift from their earlier, synthpop-oriented sound and featured a more organic art rock sound, where musicians improvised with their instruments for many hours, then Hollis and producer Tim Friese-Greene edited and arranged the performances to get the sound they wanted. A total of sixteen musicians appeared on the album. It became their most successful album, selling over two million copies and prompting a major world tour. Nonetheless, for their next album Spirit of Eden (1988), the band chose to work towards an even more unconventional and uncommercial direction. The album was compiled from a lengthy recording process at London's Wessex Studios between 1987 and 1988 where the band worked again with Friese-Greene and engineer Phill Brown. Often working in darkness, the band recorded many hours of improvised performances which were heavily edited and re-arranged into the final album.
 Passage 3:Rendell had begun to play the piano aged five, but switched to saxophone in his teens. While he began his working life in the Southgate branch of Barclay's Bank, he soon left to become a professional musician. He began his career on alto saxophone but changed to tenor saxophone in 1943. During the rest of the 1940s, he was in the bands of George Evans and Oscar Rabin. Beginning in 1950, he spent three years in a septet led by Johnny Dankworth. He performed with Billie Holiday in Manchester, England, before playing in the bands of Tony Crombie and Ted Heath. After touring in Europe with Stan Kenton, he played in Cyprus with Tony Kinsey. He was a member of Woody Herman's Anglo American Herd in 1959. During the late 1950s and early 1960s he led bands, including one with Ian Carr that lasted until 1969, one with Barbara Thompson in the 1970s, and as the sole leader in the 1980s and 1990s. In particular, the Rendell-Carr Quintet gained an international reputation. It performed at the Antibes Festival, France and was the Band of the Year for three years in succession in the Melody Maker poll. He performed in festivals in England and France and worked with Johnny Dankworth, Michael Garrick, and Brian Priestley.

Output: 1