In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[EX Q]: Passage: During his time with Jikken Kobo, Takemitsu came into contact with the experimental work of John Cage; but when the composer Toshi Ichiyanagi returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), Corona for pianist(s) and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".Although the immediate influence of Cage's procedures did not last in Takemitsu's musicCoral Island, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of Anton Weberncertain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma. Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.
For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out:
One day I chanced to see a performance of the Bunraku puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao shamisen, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music.
Question: What is the name of the person who, through his contact with Cage, came to recognize the value of his own tradition?
[EX A]: Takemitsu.

[EX Q]: Passage: In addition to the knighthood bestowed in 1911, Wood's state honours were his appointments as Companion of Honour in 1944, to the Order of the Crown (Belgium; 1920), and Officer of the Legion of Honour (France; 1926). He received honorary doctorates from five English universities and was a fellow of both the Royal Academy of Music (1920) and the Royal College of Music (1923).
Jacobs lists 26 compositions dedicated to Wood, including, in addition to the Vaughan Williams Serenade to Music, works by Elgar, Delius, Bax, Marcel Dupre and Walton. The Poet Laureate, John Masefield, composed a poem of six verses in his honour, entitled "Sir Henry Wood", often referred to by its first line, "Where does the uttered music go?". Walton set it to music as an anthem for mixed choir; it received its first performance on 26 April 1946 at St Sepulchre's, on the occasion of a ceremony unveiling a memorial stained-glass window in Wood's honour.Wood is commemorated in the name of the Henry Wood Hall, the deconsecrated Holy Trinity Church in Southwark, which was converted to a rehearsal and recording venue in 1975. His bust stands upstage centre in the Royal Albert Hall during the whole of each Prom season, decorated by a chaplet on the Last Night of the Proms. His collection of 2,800 orchestral scores and 1,920 sets of parts is now in the library of the Royal Academy of Music. For the Academy he also established the Henry Wood Fund, giving financial aid to students. The University of Strathclyde named a building at its Jordanhill campus after him. His best-known memorial is the Proms, officially "the Henry Wood Promenade Concerts", but universally referred to by the informal short version.His biographer Arthur Jacobs wrote of Wood:
His orchestral players affectionately nicknamed him "Timber" more than a play on his name, since it seemed to represent his reliability too. His tally of first performances, or first performances in Britain, was heroic: at least 717 works by 357 composers. Greatness as measured by finesse of execution may not be his, particularly in his limited legacy of recordings, but he remains one of the most remarkable musicians Britain has produced.
Question: What is the first name of the person who has a building named after him on a campus of the University of Strathclyde?
[EX A]: Henry.

[EX Q]: Passage: When an ally of the U-Tsang ruler threatened destruction of the Gelugpas again, the fifth Dalai Lama Lozang Gyatso pleaded for help from the Mongol prince Gushi Khan (15821655), leader of the Khoshut (Qoshot) tribe of the Oirat Mongols, who was then on a pilgrimage to Lhasa. Gushi Khan accepted his role as protector, and from 16371640 he not only defeated the Gelugpas' enemies in the Amdo and Kham regions, but also resettled his entire tribe into Amdo. Sonam Chopel urged Gushi Khan to assault the U-Tsang king's homebase of Shigatse, which Gushi Khan agreed upon, enlisting the aid of Gelug monks and supporters. In 1642, after a year's siege of Shigatse, the U-Tsang forces surrendered. Gushi Khan then captured and summarily executed Karma Tenkyong, the ruler of U-Tsang, King of Tibet.Soon after the victory in U-Tsang, Gushi Khan organized a welcoming ceremony for Lozang Gyatso once he arrived a day's ride from Shigatse, presenting his conquest of Tibet as a gift to the Dalai Lama. In a second ceremony held within the main hall of the Shigatse fortress, Gushi Khan enthroned the Dalai Lama as the ruler of Tibet, but conferred the actual governing authority to the regent Sonam Chopel. Although Gushi Khan had granted the Dalai Lama "supreme authority" as Goldstein writes, the title of 'King of Tibet' was conferred upon Gushi Khan, spending his summers in pastures north of Lhasa and occupying Lhasa each winter. Van Praag writes that at this point Gushi Khan maintained control over the armed forces, but accepted his inferior status towards the Dalai Lama. Rawski writes that the Dalai Lama shared power with his regent and Gushi Khan during his early secular and religious reign. However, Rawski states that he eventually "expanded his own authority by presenting himself as Avalokitesvara through the performance of rituals," by building the Potala Palace and other structures on traditional religious sites, and by emphasizing lineage reincarnation through written biographies. Goldstein states that the government of Gushi Khan and the Dalai Lama persecuted the Karma Kagyu sect, confiscated their wealth and property, and even converted their monasteries into Gelug monasteries. Rawski writes that this Mongol patronage allowed the Gelugpas to dominate the rival religious sects in Tibet.
Question: What was the last name of the person Khan executed?
[EX A]:
Tenkyong.