Background: Point of Grace is an all-female Contemporary Christian music vocal group. The trio consists of Shelley Breen, Denise Jones, and Leigh Cappillino. The group started out as a quartet in 1991, with original members Breen and Jones, as well as Terry Jones and Heather Payne. In November 2003, Terry Jones decided to spend more time with her family after giving birth to her third child, and left the group, with Cappillino joining in March 2004 for their 2004 release
Context: In November 2003, Terry Jones announced she would be retiring from Point of Grace. She was finding it harder and harder to handle a full-time music career and being a full-time wife and mother. She wrote a letter which was posted on the group's website, along with a letter from Heather, Shelley, and Denise. They made it clear that they had no intentions of carrying on as a trio, and called upon band leader Dana Cappillino's wife Leigh to join her husband on tour. Terry's last tour with the group was the 2003 Christmastime Tour with Michael W. Smith, and her last concert was in Little Rock, Arkansas, on February 28, 2004. Leigh had been officially on board since January 1, 2004, but her first concert was in Atlanta, Georgia on March 12, 2004. Leigh's first album with Point of Grace was I Choose You, released on October 12, 2004. It featured a rawer, less glossy sound. They also worked with producers with whom they had never worked with such as Mark Hammond, Wayne Kirkpatrick and David Zaffiro. Brent Bourgeois, who produced the song "Forever On And On" from the Streams album also produced one track. The album was the most progressive of their career up to that point. They spent the remainder of 2004 doing promotional appearances and participating once again in Michael W. Smith's Christmastime Tour along with The Katinas. In February 2005, they began the I Choose You Tour with Scott Krippayne and special guest Charity Von. The tour took the girls through 30 cities, and the show's set lists featured cuts from I Choose You as well as songs from their back catalog. After the tour, the girls began work on their second Christmas release. The girls spent the summer of 2005 recording, which, like A Christmas Story, featured holiday classics and original songs. Winter Wonderland was released on October 4, 2005. They launched their first Christmas tour, the Winter Wonderland Tour in late November, playing 16 concerts. The show had John David Webster, who was featured on Winter Wonderland, as a special guests, and local choirs participated in every show. In 2006, the girls resumed their Girls of Grace activities, and began working with Michael Passons, formerly of Avalon, who began to tour with them. On one-off dates, the girls would have acoustic segments where Dana and Michael would be featured on guitar and piano, respectively, along with vocals from the girls. Heather also gave birth to her third child in 2006. The girls launched the 2006 Winter Wonderland Tour with special guest Scott Krippayne.
Question: How come?
Answer: She was finding it harder and harder to handle a full-time music career and being a full-time wife and mother.

Problem: Background: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.
Context: As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes. Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldan, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era Conciertos de musica nueva (Concerts of New Music), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldan were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "!Abajo la lira, arriba el bongo!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldan collaborated on numerous works, including the 1925 orchestral piece Obertura sobre temas cubanos (Overture on Cuban Themes) which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included Tres pequenas poemas: Oriente, Pregon, Fiesta negra (Three little poems) produced in 1926, and two Afro-Cuban ballets: La Rebambaramba, a colonial ballet in two parts (1928) and El milagro de Anaquille (1929). Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the narrative (drums, footsteps, etc.) are a few examples of music's influence over Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.
Question: Did he go to school for music?
Answer:
organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time.