TASK DEFINITION: The task is about reading the given story and question, then finding an answer to the given question. Based on the passage provided and the given question, you should identify the shortest continuous text span from the passage that serves as an answer to the given question. Avoid answers that are incorrect or provides incomplete justification for the question.
PROBLEM: story: A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from "musical form" and "musical style", although in practice these terms are sometimes used interchangeably. Recently, academics have argued that categorizing music by genre is inaccurate and outdated.

Music can be divided into different genres in many different ways. The artistic nature of music means that these classifications are often subjective and controversial, and some genres may overlap. There are even varying academic definitions of the term "genre "itself. In his book "Form in Tonal Music", Douglass M. Green distinguishes between genre and form. He lists madrigal, motet, canzona, ricercar, and dance as examples of genres from the Renaissance period. To further clarify the meaning of "genre", Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre both are violin concertos but different in form. However, Mozart's Rondo for Piano, K. 511, and the "Agnus Dei" from his Mass, K. 317 are quite different in genre but happen to be similar in form." Some, like Peter van der Merwe, treat the terms "genre" and "style" as the same, saying that "genre" should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that "genre" and "style" are two separate terms, and that secondary characteristics such as subject matter can also differentiate between genres. A music genre or subgenre may also be defined by the musical techniques, the style, the cultural context, and the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will often include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an almost ubiquitous framework for constituting and evaluating musical research objects"., question: How does he define it?

SOLUTION: as pieces of music that share a certain style

PROBLEM: story: CHAPTER IV.

Signor Andrea D'Arbino, searching vainly through the various rooms in the palace for Count Fabio d'Ascoli, and trying as a last resource, the corridor leading to the ballroom and grand staircase, discovered his friend lying on the floor in a swoon, without any living creature near him. Determining to avoid alarming the guests, if possible, D'Arbino first sought help in the antechamber. He found there the marquis's valet, assisting the Cavaliere Finello (who was just taking his departure) to put on his cloak.

While Finello and his friend carried Fabio to an open window in the antechamber, the valet procured some iced water. This simple remedy, and the change of atmosphere, proved enough to restore the fainting man to his senses, but hardly--as it seemed to his friends--to his former self. They noticed a change to blankness and stillness in his face, and when he spoke, an indescribable alteration in the tone of his voice.

"I found you in a room in the corridor," said D'Arbino. "What made you faint? Don't you remember? Was it the heat?"

Fabio waited for a moment, painfully collecting his ideas. He looked at the valet, and Finello signed to the man to withdraw.

"Was it the heat?" repeated D'Arbino.

"No," answered Fabio, in strangely hushed, steady tones. "I have seen the face that was behind the yellow mask."

"Well?"

"It was the face of my dead wife."

"Your dead wife!"

"When the mask was removed I saw her face. Not as I remember it in the pride of her youth and beauty--not even as I remember her on her sick-bed--but as I remember her in her coffin." , question: Did he find anyone there?

SOLUTION: the marquis's valet

PROBLEM: story: CHAPTER VII. THE DAUGHTER OF WITHERSTEEN

"Lassiter, will you be my rider?" Jane had asked him.

"I reckon so," he had replied.

Few as the words were, Jane knew how infinitely much they implied. She wanted him to take charge of her cattle and horse and ranges, and save them if that were possible. Yet, though she could not have spoken aloud all she meant, she was perfectly honest with herself. Whatever the price to be paid, she must keep Lassiter close to her; she must shield from him the man who had led Milly Erne to Cottonwoods. In her fear she so controlled her mind that she did not whisper this Mormon's name to her own soul, she did not even think it. Besides, beyond this thing she regarded as a sacred obligation thrust upon her, was the need of a helper, of a friend, of a champion in this critical time. If she could rule this gun-man, as Venters had called him, if she could even keep him from shedding blood, what strategy to play his flame and his presence against the game of oppression her churchmen were waging against her? Never would she forget the effect on Tull and his men when Venters shouted Lassiter's name. If she could not wholly control Lassiter, then what she could do might put off the fatal day.

One of her safe racers was a dark bay, and she called him Bells because of the way he struck his iron shoes on the stones. When Jerd led out this slender, beautifully built horse Lassiter suddenly became all eyes. A rider's love of a thoroughbred shone in them. Round and round Bells he walked, plainly weakening all the time in his determination not to take one of Jane's favorite racers. , question: Who is Bells?

SOLUTION:
One of her safe racers