Teacher: In this task, you are given a set of context paragraph and some supporting facts to answer a question. Your task is to generate answer for given question based on set of context paragraphs and supporting facts.
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Context_1 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Context_2 : Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor. Context_3 : Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music"). After the 20th century, art music was divided into two extensions: "serious music" and "light music". Context_4 : In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system. Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900. While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution. Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form). Thus, the dates 16501900 are necessarily nebulous and arbitrary borders that depend on context. The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis. Context_5 : The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music. The ten-day festival takes place in the Dutch city of Utrecht, and begins in August. The programme comprises concerts, activities, lectures, exhibitions, and a symposium. Context_6 : Assaf Shelleg (Hebrew: ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem. He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (201114), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (200911). Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music. Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press. The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music. Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies. "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award. Context_7 : Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes). Context_8 : David Wallis Reeves (February 14, 1838 March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March". Charles Ives also borrowed from the "Second Connecticut" on four occasions. Context_9 : "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions." Context_10 : Progressive music is music that subverts genre and expands stylistic boundaries outwards. Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African. The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock. fact_1 : Charles Ives also borrowed from the "Second Connecticut" on four occasions. fact_2 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. fact_3 : He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Question: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Solution: 1874May
Reason: From the fact_1 from context _8, and fact _2 and fact _3 from context _1, we can arrive at 1874 May which is accurate answer of given question.

Now, solve this instance: Context_1 : This is a list of avant-garde metal artists, regional scenes, and record labels. Avant-garde metal or avant-metal, also known as experimental metal, is a subgenre of heavy metal music loosely defined by use of experimentation and characterized by the use of innovative, avant-garde elements, large-scale experimentation, and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, and vocal techniques. It evolved out of progressive rock and various forms of metal, including extreme metal, particularly the extreme subgenre death metal. Some early examples are the King Crimson releases "Larks' Tongues in Aspic" and "Red" in 1973 and 1974 respectively, and the 1976 Led Zeppelin album "Presence". The genre emerged in the early 1980s through the efforts of bands such as Celtic Frost and Voivod, who pioneered the genre. Other pioneers of avant-garde metal include Boris, Earth, Helmet, maudlin of the Well, Neurosis, Sunn O))), and Mr. Bungle. In the late 1990s, Misanthropy Records emerged as a promoter of Norwegian avant-garde metal until it folded in 2000, and, according to Jeff Wagner, in the late 1990s and early 2000s, a so-called "new wave of avant-garde metal" was spearheaded by The End Records. Some other record labels which promote avant-garde metal are Aurora Borealis, The Flenser, Holy Records, Hydra Head Records, Ipecac Recordings, Napalm Records, the Relapse Entertainment imprint of Relapse Records, Seventh Rule Recordings, and Southern Lord Records. In the United States, local avant-garde metal scenes have emerged in the San Francisco Bay Area, with bands such as Giant Squid, Grayceon, and Ludicra, Boston, with bands such as Isis, Kayo Dot, and maudlin of the Well and Seattle. According to the "New York Times", some regional scenes that developed in the mid-1990s included the cities of Tokyo, Los Angeles, and Oslo. Context_2 : Metalcore is a broad fusion genre of extreme metal and hardcore punk. Its subgenres include mathcore and melodic metalcore. This incomplete list includes bands described as performing any of these styles, including those who also perform other styles (with the exception of deathcore bands, which fuse metalcore with death metal and are listed separately). Context_3 : The band was first formed under the name "Corpse Molestation" and at the time played Black Death Metal with five demos and one demo compilation under the name. Their lyrical themes involved death, war and blasphemy. The band also used pseudonyms instead of actual names to hide their identity. They were one of the pioneers of Australian black metal and extreme metal, recording two black/death metal albums in the mid-nineties before breaking up. Their style was raw and furious, taking off from the old-school black metal style found in such bands as Bathory, Sarcofago, Beherit, and Blasphemy. Many members of Bestial Warlust went on to form Destroyer 666 and participate in other Australian extreme metal acts. Context_4 : Blackgaze is a fusion genre combining elements of black metal and shoegazing. The word is a blend of the names of the two genres, described by "The Guardian" as "the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore." According to "Exclaim!", blackgaze "marries the harsh, alien instrumentation of black metal with the mellower, dreamy soundscapes of shoegaze." Influenced by atmospheric black metal bands like Ulver and Summoning, the genre was pioneered by French musician Neige around 2005 through the projects Alcest and Amesoeurs and has risen to prominence with the success of American group Deafheaven. "The Guardian" named Deafheaven "blackgaze's de facto poster boys, the most likely to open up black metal to an even wider audience", and "Exclaim!" described their second album "Sunbather" the most critically acclaimed album of 2013 on Metacritic as seminal to blackgaze. Context_5 : Extreme metal is a loosely defined umbrella term for a number of related heavy metal music subgenres that have developed since the early 1980s. It has been defined as a "cluster of metal subgenres characterized by sonic, verbal and visual transgression". The term usually refers to a more abrasive, harsher, underground, non-commercialized style or sound associated with the speed metal, thrash metal, death metal, black metal and doom metal genres. With the exception of doom metal, all of these genres are characterized by fast tempos, attesting to their roots in hardcore punk, which has also fused with extreme metal in the forms of crossover thrash, crust punk, grindcore, sludge metal and metalcore. Though many extreme sub-styles are not very well known to mainstream music fans, extreme metal has influenced an array of musical performers inside and outside heavy metal. Context_6 : Slice The Cake was an international Progressive Deathcore group spanning from Australia, England, and Sweden. Formed in 2009, the trio consisted of vocalist Gareth Mason, instrumentalist Jonas Johansson, and composer Jack "Magero" Richardson. Although the band members are all from different countries, they have played a couple shows with stand-ins. They released one EP and 3 full length albums before they disbanded. Their albums have been released to critical acclaim.<br> Context_7 : The following is a list of deathcore artists. Deathcore is an extreme metal fusion genre that combines the characteristics of death metal and metalcore and sometimes hardcore punk. It is defined by death metal riffs, blast beats and use of metalcore breakdowns. Deathcore gained most prominence within the southwestern United States, especially Arizona and inland southern California (mostly the Coachella Valley), which are home to many notable bands and various festivals. Context_8 : Gothic metal (or goth metal) is a fusion genre combining the heaviness of heavy metal with the dark atmospheres of gothic rock. The music of gothic metal is diverse with bands known to adopt the gothic approach to different styles of heavy metal music. The genre originated during the early 1990s in Europe originally as an outgrowth of death-doom, a fusion of death metal and doom metal. Lyrics are generally dark and introspective with inspiration from gothic fiction as well as personal experiences. Context_9 : Deathcore is an extreme metal fusion genre that combines musical elements of death metal and metalcore and sometimes hardcore punk. It makes use of death metal riffs and blast beats, as well as metalcore breakdowns. Deathcore gained most prominence within the southwestern United States, especially Arizona and inland southern California (mostly the Coachella Valley), which are home to many notable bands and various festivals. Context_10 : Dam are an English extreme metal band from London, formed in 1997. The band's music, heavily influenced by early-1990s death metal, can be characterised as a fusion of death metal, black metal, and thrash metal, with some hints of progressive rock and heavy metal. The band describe their style as extreme metal. fact_1 : Slice The Cake was an international Progressive Deathcore group spanning from Australia, England, and Sweden. fact_2 : Deathcore is an extreme metal fusion genre that combines musical elements of death metal and metalcore and sometimes hardcore punk. Question: Which Australian group played an extreme metal fusion genre?
Student:
Slice The Cake