instruction:
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.
question:
Passage: Drake ended his studies at Cambridge nine months before graduation, and in autumn 1969 moved to London. His father remembered "writing him long letters, pointing out the disadvantages of going away from Cambridge ... a degree was a safety net, if you manage to get a degree, at least you have something to fall back on; his reply to that was that a safety net was the one thing he did not want." Drake spent his first few months in London drifting from place to place, occasionally staying at his sister's Kensington flat but usually sleeping on friends' sofas and floors. Eventually, in an attempt to bring some stability and a telephone into Drake's life, Boyd organised and paid for a ground floor bedsit in Belsize Park, Camden.
On 5 August 1969, Drake recorded five songs for the BBC's John Peel show ("Cello Song", "Three Hours", "River Man", "Time of No Reply" and an early version of "Bryter Layter"), three of which were broadcast on the following night. A month later, on 24 September, he opened for Fairport Convention at the Royal Festival Hall in London, followed by appearances at folk clubs in Birmingham and Hull. Folk singer Michael Chapman said of the performances:The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!
The experience reinforced Drake's decision to retreat from live appearances; the few concerts he did play around this time were usually brief, awkward, and poorly attended. Drake seemed reluctant to perform and rarely addressed his audience. As many of his songs were played in different tunings, he frequently paused to retune between numbers.
Question: Where did the man who did not like to play in front of live audiences end his studies?
answer:
Cambridge.

question:
Passage: Increasing tourist and commercial interest in petrified wood during the late 19th century began to alarm residents of the region. In 1895, the Arizona Territorial Legislature asked the U.S. Congress to create a petrified forest national park. Although this first attempt failed, in 1906 the Antiquities Act signed by President Theodore Roosevelt was used to create the Petrified Forest National Monument. Between 1934 and 1942, the federal Civilian Conservation Corps built road, trails, and structures in the monument, and the government acquired additional land in the Painted Desert section. The monument became a national park in 1962. Six years after the signing of the Wilderness Act in 1964 by President Lyndon B. Johnson, wilderness areas (where human activity is limited), were designated in the park. In 2004, President George W. Bush signed a bill authorizing the eventual expansion of the park from 93,353 acres (about 146 mi2 or 378 km2) to 218,533 acres (about 341 mi2 or 884 km2). Theft of petrified wood is still a problem. Despite a guard force of seven National Park Service rangers, fences, warning signs, and the threat of a $325 fine, an estimated 12 short tons (11,000 kg) of the fossil wood is stolen from the Petrified Forest every year.Jessee Walter Fewkes, the first archeologist to visit Puerco Ruin, predicted in the late 19th century that it would yield many artifacts. Conservationist John Muir conducted the first excavations of the ruin in 190506. Although he did not publish his findings, he urged the federal government to preserve Petrified Forest. Professional archeological work in the park began in the early 20th century when Walter Hough conducted excavations at Puerco Ruin and other sites. In 1919, a phytosaur skull was discovered near Blue Mesa in the Petrified Forest and sent to the Museum of Paleontology in Berkeley, California. In 1921, Annie Alexander, founder of the museum, visited Blue Mesa to collect more of the phytosaur and other specimens; this led to further excavations by paleontologist Charles Camp. Since then, more than 250 fossil sites have been documented in the park. In the 1930s, the Civil Works Administration funded research in the park by archeologists H.P. Mera and C.B. Cosgrove. A National Park Service resurvey of the Petrified Forest in the early 1940s identified most of the large sites with stone ruins, and subsequent surveys since 1978 have identified a total of more than 600 artifact sites, many of them small. Research in paleontology and archeology continues at the park in the 21st century.
Question: Who urged the federal government to preserve Petrified Forest?
answer:
John Muir.

question:
Passage: The Esquisses of 1861 are a set of highly varied miniatures, ranging from the tiny 18-bar no. 4, Les cloches (The Bells), to the strident tone clusters of no. 45, Les diablotins (The Imps), and closing with a further evocation of church bells in no. 49, Laus Deo (Praise God). They were preceded in publication by Alkan's deceptively titled Sonatine, Op. 61, in 'classical' format, but a work of "ruthless economy [which] although it plays for less than twenty minutes ... is in every way a major work."Two of Alkan's substantial works from this period are musical paraphrases of literary works. Salut, cendre du pauvre, Op. 45 (1856), follows a section of the poem La Melancolie by Gabriel-Marie Legouve; while Super flumina Babylonis, Op. 52 (1859), is a blow-by-blow recreation in music of the emotions and prophecies of Psalm 137 ("By the waters of Babylon ..."). This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan's Bible translation. Alkan's lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn, which appeared between 1857 and 1872, as well as by a number of minor pieces.
Alkan's publications for organ or pedalier commenced with his Benedictus, Op. 54 (1859). In the same year he published a set of very spare and simple preludes in the eight Gregorian modes (1859, without opus number), which, in Smith's opinion, "seem to stand outside the barriers of time and space", and which he believes reveal "Alkan's essential spiritual modesty." These were followed by pieces such as the 13 Prieres (Prayers), Op. 64 (1865), and the Impromptu sur le Choral de Luther "Un fort rempart est notre Dieu" , op. 69 (1866). Alkan also issued a book of 12 studies for the pedalboard alone (no opus number, 1866) and the Bombardo-carillon for pedalboard duet (four feet) of 1872.Alkan's return to the concert platform at his Petits Concerts, however, marked the end of his publications; his final work to be issued was the Toccatina, Op. 75, in 1872.
Question: What is the name of the person who believes that the set of very spare and simple preludes in the eight Gregorian modes, published in 1859, reveal "Alkan's essential spiritual modesty"?
answer:
Smith.