In this task, you are given a set of context paragraphs, some supporting facts and an answer of a question. Your task is to generate question for given answer based on set of context paragraphs, supporting facts and an answer.
One example is below.
Q: 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. Answer: 1874May
A: 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?
Rationale: 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 generated question.
Q: Context_1 : Tams-Witmark is an American company that provides to professional and amateur theaters license to Broadway musical scripts and scores. Among the many notable properties handled by the company are "Kiss Me, Kate"; "My Fair Lady"; ""; "Bye Bye Birdie"; "Hello, Dolly!"; "Cabaret"; "Man of La Mancha" and "A Chorus Line". The company has also acquired numerous properties often inspired by or based upon motion pictures or comic strips, such as 42nd Street, The Wizard of Oz, Meet Me In St. Louis, You're A Good Man, Charlie Brown, and Li'l Abner. The company has also prepared for licensing simpler, shorter derivative works for performance by elementary and middle school students, such as an abbreviated version of "Bye, Bye Birdie". Context_2 : The Cotton Club Boys were nationally acclaimed American chorus line entertainers who, from 1934, performed class act dance routines that is, precision unison dance drills as part of musical revues produced almost exclusively by the Cotton Club in New York until 1940 when the Broadway Cotton Club closed then as part of Cab Calloway's Revue on tour, until the end of 1942. They debuted in the 24th edition of "Cotton Club Parade," spring 1934 (i) a period that marked the beginning of the swing era, (ii) the post-Harlem Renaissance, (iii) about a year after the Prohibition, and (iv) the trough of the Great Depression. The chorus line name often included a prefix that reflected the number of members; "viz.," "The Six Cotton Club Boys," "The 12 Cotton Club Boys," and the like. Context_3 : "What I Did for Love" is a song from the musical "A Chorus Line" (music by Marvin Hamlisch, lyrics by Edward Kleban). It was quickly recognized for its show-business potential outside Broadway and was picked up by popular singers to include in their performances in their club and television appearances. Both female and male singers have made it an inclusion in their recorded albums to great effect. "The Daily Telegraph" described it as a "big anthem". Context_4 : "Soul by the Pound" is the third single from rapper Common's 1992 debut album, "Can I Borrow a Dollar?". Its beat, produced by Immenslope, is similar to much production from Common's second album, "Resurrection". Its beat contains samples from "I Like It" by DeBarge and "Sneakin' in the Back" by Tom Scott. It is considered to be a "black solidarity" track, but has been attacked for its misogyny. Its chorus contains a sample from Tim Dog's verse on "A Chorus Line" by Ultramagnetic MCs. A music video was made for the "Thump Mix" version of this song, but not for the album version. The chorus of "Thump Mix" contains vocal samples from Q-Tip's verse in "Jazz (We've Got)" by A Tribe Called Quest, Redman's in "Tonight's Da Night" and Grand Puba's in "Check It Out." The "Thump Mix" can be found on the Guidance Recordings compilation album "2001: A Rhyme Odyssey". Context_5 : A Chorus Line is a musical with music by Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood, Jr. and Nicholas Dante. Centred on seventeen Broadway dancers auditioning for spots on a chorus line, the musical is set on the bare stage of a Broadway theatre during an audition for a musical. "A Chorus Line" provides a glimpse into the personalities of the performers and the choreographer as they describe the events that have shaped their lives and their decisions to become dancers. Context_6 : James T. Lane (born December 25, 1977) is an American actor and dancer. He made his Broadway debut with the 2006 revival of "A Chorus Line", playing Richie Walters. After that, Lane joined the cast of "Chicago: The Musical", playing the role of Aaron and Amos. Other credits include an episode on "One Life to Live" as a James Brown impersonator. Lane was last been seen on Broadway in "The Scottsboro Boys", playing the roles of Ozie Powell and Ruby Bates. In 2013, Lane reprised his "A Chorus Line" role in The West End. Context_7 : Doug Haining is a saxophonist/clarinetist who currently resides in Edina, Minnesota. He is a music graduate of St. Olaf College in Northfield, Minnesota, where he studied classical clarinet. He has performed professionally since 1974, backing national artists such as Steve Allen, Don Rickles, Bob Hope, and others, and Broadway shows such as West Side Story, Cats, A Chorus Line and many others. He has performed with the Minnesota Orchestra and St. Paul Chamber Orchestra. Doug also played short stints with Red Wolfe's 'Ellington Echoes', and the Hall Brothers. Since 1979, Doug has been a member of the Wolverines Classic Jazz Orchestra. He is also a member of the recently formed BellaGala big band, and plays in other jazz groups in the area. Doug founded the Twin Cities Seven in 1999, and since then has been busy writing arrangements and compositions for the band's ever-growing library. Doug has performed with the band at many local venues and jazz festivals, and several regional performing venues outside the metro area. In 2010, Doug co-founded the Explosion Big Band with his musical cohort Scott Agster. In his spare time, he teaches privately and co-leads the Edina High School Jazz Ensemble I. He has two children, Trevor and Preston, both of whom are currently pursuing professional music careers. Context_8 : Marvin Frederick Hamlisch (June 2, 1944August 6, 2012) was an American composer and conductor. Hamlisch was one of only twelve people to win Emmy, Grammy, Oscar and Tony awards. This collection of all four is referred to as an "EGOT". He is one of only two people (along with Richard Rodgers) to have won those four prizes and a Pulitzer Prize. Context_9 : Ernest Harold Martin (born Ernest Harold Markowitz; August 28, 1919 May 8, 1995) was a Tony Award-winning Broadway producer who wrote the book for a musical, owned a Broadway theater and produced motion pictures, including "A Chorus Line" and "Cabaret" (1972 film nominated for 10 Oscars). Best known for such hits as "Guys and Dolls", "How to Succeed in Business Without Really Trying", and "Cabaret", Martin left his mark on American and international theatre and screen. Context_10 : On the Old Fall River Line is a song composed in 1913 by William Jerome (words), Andrew B. Sterling (words) and Harry Von Tilzer (music) set on a steamship of the Fall River Line of steamships between New York and Newport, Rhode Island, which connected with trains from Newport to Boston. Von Tilzer had often traveled the line and was inspired by honeymooners "stirred to romantic depths by the alliance of shadowy darkness, twinkling stars, softly lapping waves and stately moving ships." Popular during World War I, especially among New England soldiers, it was also "much parodied." It is a cheerful, up-tempo ditty, but, typically of its time, "there is a final twist to married bliss with the final chorus line of: 'But I wish "oh Lord" I fell overboard, On the old Fall River Line.'" Described by the New York Times as "a popular song of a quarter century ago" in 1937, its full chorus was used that same year in Time Magazine's article on the passing of the old steamboat line. Although still garnering a place in "Billboard"' s 1949 listing of "Harry Von Tilzer's Best Known Songs" as late as 1949 and being described as "a famous verse" by The Christian Science Monitor in 1950, a dozen years after the last ship had sailed, it is less remembered today, although not completely forgotten. Modern-day performers have included Steve Martin and Tiny Tim. fact_1 : A Chorus Line is a musical with music by Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood, Jr. and Nicholas Dante. fact_2 : Marvin Frederick Hamlisch (June 2, 1944August 6, 2012) was an American composer and conductor. Answer: American
A:
What is the nationality of the man who wrote the music for A Chorus Line?