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.
Example: 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
Example solution: 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?
Example explanation: 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.

Problem: Context_1 : Spanish (Sp.) has gendered nouns of masculine or feminine gender - with some neuter gender. In Spanish, feminine nouns often end in "-a" while masculine nouns often end in "-o". As in other Romance languages, masculine form of nouns and pronouns are generally used to refer to a group of both males and females, or to someone of unknown gender. Advocates of gender-neutral language modification consider this to be sexist and favor new ways of writing and speaking. Activists against sexism in language are also concerned about words where the feminine form has a different (usually less prestigious) meaning. Context_2 : A Tatar personal name, being strongly influenced by Russian tradition, consists of two main elements: isem (given name) and familia (family name), and also patronymic. Given name was traditional for Tatars for centuries, family name appeared in the end of the 19th century, when it replaced patronymic. In fact, usage of family name appeared when Russian scribers gave documents to Tatars. Later, being adapted to Soviet tradition, Tatars started to use patronymic as third element, especially in informal communication. Context_3 : Angus is a masculine given name in English. It is an Anglicised form of the Irish and Scottish Gaelic "Aonghas", which is composed of Celtic elements meaning "one", and "choice". A variant spelling of the Scottish Gaelic name is "Aonghus". The Irish form of the Scottish Gaelic name is "Aengus". A pet form of the given name "Angus" is "Angie", pronounced ""an-ghee"", which represents the Scottish Gaelic "Angaidh". A short form of the given name "Angus" is "Gus", which may be lengthened to "Gussie". The feminine form of "Angus" is "Angusina". Context_4 : Sietske, pron. [sitsk], is a West Frisian feminine given name. The form 'Sietske', though it is prevalent, is actually the Dutch spelling of this name; the correct West Frisian spelling is Sytske (In West Frisian, 'Sietske' would be pronounced [si.tsk]). Although traditional West Frisian given names are less and less popular, Sietske is still a very common girls' name in the province of Friesland. Sietske is the feminine form of the masculine given name Sietse (Sytse), formed by dropping the voiceless final syllable and adding a diminutive suffix in its place (in this case "-ke"). Outside of Friesland, where no Frisian is spoken, this convention is not well known. Therefore, the greater part of the Sietskes from provinces other than Friesland are wrongfully addressed as "Sir" in written correspondence. Sietske and Sietse are both based on the stem "Siet" ("Syt"). According to onomatologist Rienk de Haan, "Siet" is a reduced form of Germanic names starting with "Sigi-" (meaning "victory"), or possibly starting with "Sith-" (meaning "companion"). It is also possible that it derives from Old Frisian "side" (meaning "morale"). Context_5 : Petraitis is the masculine form of a Lithuanian family name. Its feminine forms are: Petraitiene (married woman or widow) and Petraityte (unmarried woman). Context_6 : Ronald ( ) is a masculine given name derived from the Old Norse "Rognvaldr". In some cases "Ronald" is an Anglicised form of the Gaelic "Raghnall", a name likewise derived from "Rognvaldr". The latter name is composed of the Old Norse elements "regin" ("advice", "decision") and "valdr" ("ruler"). "Ronald" was originally used in England and Scotland, where Scandinavian influences were once substantial, although now the name is common throughout the English-speaking world. A short form of "Ronald" is "Ron". Pet forms of "Ronald" include "Roni", and "Ronnie". A feminine form of "Ronald" is "Ronalda". "Rhona", a modern name apparently only dating back to the late nineteenth century, may have originated as a feminine form of "Ronald". The names "Renaud"/"Renault" and "Reynold"/"Reinhold" are cognates from French and German, respectively. Context_7 : Mira is a feminine given name with varying meanings. Mira or mera surname or family title Sylheti speaking muslim community in Sylhet Division of Bangladesh & Barak Valley of Assam . In the Romance languages, it is related to the Latin words for "wonder" and "wonderful." In the various Slavic languages, it means "peace" and is often used as part of a longer name, such as Miroslava (masculine form: Miroslav) or Sawomira (masculine form: Sawomir). In Albanian language, it means "goodness" or "kindness". In Sanskrit, it means "ocean", "sea", "limit" or "boundary" In Hebrew, it is a derivative of Miriam or the female equivalent of Meir, meaning light. Context_8 : Latvian names, like in most European cultures, consist of two main elements: the given name ("vards") followed by family name ("uzvards"). During the Soviet occupation (1940 - 1991) the practice of giving a middle name was discouraged, but since the restoration of Independence Latvian legislation again allows giving of up to two given names and it has become more common to give a middle name to children. Context_9 : A Lithuanian personal name, like in mostly European cultures, consists of two main elements: the given name ("vardas") followed by family name ("pavarde"). The usage of personal names in Lithuania is generally governed (in addition to personal taste or family custom) by three major factors: civil law, canon law, and tradition. Lithuanian names always follow the rules of the Lithuanian language. Lithuanian male names, as well as the rest of words, have preserved the Indo-European masculine endings ("-as"; "-is"), although the rules are not as rigid as Latvian names, which preserve masculine/feminine endings even for foreign names. Context_10 : Albanian names are names used in, or originating in, Albania, Kosovo, Macedonia and the Albanian diaspora. In Albania a complete name usually consists of a given name (Albanian: "emri" ); the given name of the individual's father (Albanian: "atesia" ), which is seldom included except in official documents; and a (most commonly patrilineal) family name or surname (Albanian: "mbiemri" ). They are invariably given in the Western name order, or given name followed by family name. fact_1 : Its feminine forms are: Petraitiene (married woman or widow) and Petraityte (unmarried woman). fact_2 : Lithuanian names always follow the rules of the Lithuanian language. Answer: Petraitiene
Solution: What is the feminine form of the masculine form of names in mostly European cultures, that consists of two main elements: the given name followed by family name that always follow the rules of the Lithuanian language?