Q: I have a test where I am given the following article, what is an answer for the question: What is the last name of the person that taught Knud Jeppesen? ? From 1916, Nielsen taught at the Royal Academy where he became director in 1931, shortly before his death. He also had private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were the composers Thorvald Aagaard, remembered in particular for his songs, Harald Agersnap, both a conductor and orchestral composer, and Jrgen Bentzon who composed choral and chamber music mainly for his folk music school (Kbenhavns Folkemusikskole). Among his other students were the musicologist Knud Jeppesen, the pianist Herman Koppel, the academy professor and symphony composer Poul Schierbeck, the organist Emilius Bangert who played at Roskilde Cathedral, and Nancy Dalberg, one of Nielsen's private students who helped with the orchestration of Aladdin. Nielsen also instructed the conductor and choirmaster Mogens Woldike, remembered for his interpretations of Baroque music, and Rudolph Simonsen, the pianist and composer who became director of the Academy after Nielsen's death.The Carl Nielsen Society maintains a listing of performances of Nielsen's works, classified by region (Denmark, Scandinavia, Europe apart from Scandinavia and outside Europe) which demonstrates that his music is regularly performed throughout the world. The concerti and symphonies feature frequently in these listings. The Carl Nielsen International Competition commenced in the 1970s under the auspices of the Odense Symphony Orchestra. A four-yearly violin competition has been held there since 1980. Flute and clarinet competitions were later added, but these have now been discontinued. An international Organ Competition, founded by the city of Odense, became associated with the Nielsen competition in 2009, but from 2015 will be organized separately, based in Odense Cathedral.
A: Nielsen

Q: I have a test where I am given the following article, what is an answer for the question: What were the two suites Holst wrote for military band? ? Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (190607), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow. In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which...
A: F major

Q: I have a test where I am given the following article, what is an answer for the question: What is the first name of the person who combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror? ? 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 Velazquez, 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 Velazquez. 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, Velazquez 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 Velazquez. 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.
A:
Diego