Part 1. Definition
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.
Part 2. 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. 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?
Answer: 1874May
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 given question.
Part 3. Exercise
Context_1 : The Wizard of the Emerald City (Russian: ) is a 1939 children's novel by Russian writer Alexander Melentyevich Volkov. The book is a re-narration of L. Frank Baum's "The Wonderful Wizard of Oz". Baum's name is sometimes credited in the book (in the appendix by Volkov, which is found in some editions, where Volkov describes the origins of his book). The names of most characters are changed, some elements of Baum's novel are removed, and some new elements are added. The book was illustrated by Leonid Vladimirski in 1959 and became quite popular in the 1960s, leading to five sequels: "Urfin Jus and his Wooden Soldiers" (1963), "The Seven Underground Kings" (1964), "The Fiery God of the Marrans" (1968), "The Yellow Fog" (1970), and "The Secret of the Abandoned Castle" (1975, published in 1982). These sequels were written by Volkov himself and are not based on Baum's plot elements, although we do encounter the powder of life, a character called Charlie Black who is not unlike Cap'n Bill, intelligent foxes, and the use of a Sandboat similar to Johnny Dooit's, albeit with wheels. Context_2 : L. Frank Baum's Juvenile Speaker: Readings and Recitations in Prose and Verse, Humorous and Otherwise is an anthology of literary works by L. Frank Baum, author of the Oz books. The book was first published in 1910, with illustrations by veteran Baum artists John R. Neill and Maginel Wright Enright; a subsequent 1912 edition was retitled Baum's Own Book for Children. The book constitutes a complex element in the Baum bibliography. Context_3 : Roger Stanton Baum (born 1938) is a former banker and stockbroker, and currently (as of 2005) a children's author, residing in Las Vegas. Baum publishes under the name Roger S. Baum. Baum is a former resident of Los Angeles. He also tours the country, reading from and signing his children's books. Baum is a great-grandson of L. Frank Baum, the original creator of the "Oz" series, and grandson of Frank Joslyn Baum, who published "The Laughing Dragon of Oz" in 1935. Many of Roger S. Baum's children's books are set in the same world. Context_4 : Father Goose: His Book is a collection of nonsense poetry for children, written by L. Frank Baum and illustrated by W. W. Denslow, and first published in 1899. Though generally neglected a century later, the book was a groundbreaking sensation in its own era; "once America's best-selling children's book and L. Frank Baum's first success," "Father Goose" laid a foundation for the writing career that soon led to "The Wonderful Wizard of Oz" and all of Baum's later work. Context_5 : The Wizard of Oz (1933) is a Canadian animated short film directed by Ted Eshbaugh. The story is credited to "Col. Frank Baum." Frank Joslyn Baum, a Lieutenant Colonel in the United States Army and eldest son of writer L. Frank Baum, was involved in the film's production, and may have had an involvement in the film's script, which is loosely inspired by the elder Baum's novel, "The Wonderful Wizard of Oz". It runs approximately eight and a half minutes and is nearly absent of language, working mainly with arrangements of classical music created by Carl W. Stalling. Context_6 : The plays of L. Frank Baum are an important aspect of Baum's writing career about which some of the least is known. While even most brief biographies, long before the Internet, have noted Baum's work as a playwright, these works have been rarely performed beyond his lifetime, and almost none have been published aside from two scenarios and a first act of three unfinished works in "The Musical Fantasies of L. Frank Baum", compiled with an introduction by Alla T. Ford. Aside from his youthful success with "The Maid of Arran", his blockbuster eight-year run with "The Wizard of Oz", his failure with "The Woggle-Bug", and "The Tik-Tok Man of Oz" as source material for his novel, "Tik-Tok of Oz", very little is known about his dramatic output, and mostly from the publications of Michael Patrick Hearn, Susan Ferrara, and Katharine M. Rogers. Hearn identifies 41 different titles in the bibliography of the 2000 edition of "The Annotated Wizard of Oz", plus one play without a title, although some of these titles clearly refer to drafts of the same play, such as the early titles of "The Tik-Tok Man of Oz". Context_7 : The Maid of Arran, An Idyllic Irish Drama Written for the People, Irrespective of Caste or Nationality is an 1882 musical play by L. Frank Baum, writing and performing under the pseudonym, "Louis F. Baum", based on the novel "A Princess of Thule" by William Black. It was described as "A Play to Ensnare All Hearts and Leave an Impress of Beauty and Nobility Within the Sordid Mind of Man." The play resets the novel from Scotland's Outer Hebrides to Ireland (although Arran is actually in ScotlandBaum probably meant Aran, but never changed it). This was a well-received melodrama with elaborate stage effects, including a storm upon a ship, and an original score by Baum himself. Unfortunately, only the songbook for the windows use survives, which omits two of the songs referenced in the script (the manuscript did not include the lyrics). Baum played the main character, Hugh Holcomb, originally called Frank Lavender in the novel, in its initial tour (including two stints on Broadway), and later played Con. O'Mara, the heroine's father, in a community theatre revival. Context_8 : The Silver Princess in Oz (1938) is the thirty-second of the Oz books created by L. Frank Baum and his successors, and the eighteenth written by Ruth Plumly Thompson. It was illustrated by John R. Neill. Context_9 : The Red Jinn, later known as Jinnicky, is one of Ruth Plumly Thompson's most frequently occurring characters in her Oz books. He was first introduced in "Jack Pumpkinhead of Oz" as a mysterious figure who educates Jack Pumpkinhead on the use of the Pirate Sack. Although a detailed description is included in the text, "Jack Pumpkinhead of Oz" includes no illustrations of the Red Jinn aside from a gruesome color plate that did not appear outside the first edition, in which he has massive piercings. He was reintroduced, drawn, and given the name Jinnicky in "The Purple Prince of Oz"; he also appeared in the follow-up, "The Silver Princess in Oz". (He makes a cameo appearance in "The Wishing Horse of Oz", and he is the principal pre-existing character in Thompson's sub-canonical penultimate Oz book, "Yankee in Oz"). Jack Snow apparently thought the Red Jinn was a separate character, for he considered "The Purple Prince of Oz" Jinnicky's first appearance in "Who's Who in Oz", though he did not include a separate Red Jinn entry. Context_10 : The Dreamer of Oz: The L. Frank Baum Story is a 1990 made-for-television biographical film starring John Ritter as Lyman Frank Baum, the man who wrote "The Wonderful Wizard of Oz" and thirteen of the other Oz books. Also starring in this TV movie was Annette O'Toole as Baum's supportive wife, Maud, and Rue McClanahan as Baum's tough mother-in-law, Matilda Gage. John's son, Jason Ritter, makes his debut in this telefilm as Harry Neal Baum. At the time of the film's debut, O'Toole and Ritter also starred in "It", a TV miniseries where they played a couple. fact_1 : He was reintroduced, drawn, and given the name Jinnicky in "The Purple Prince of Oz"; he also appeared in the follow-up, "The Silver Princess in Oz". fact_2 : The Silver Princess in Oz (1938) is the thirty-second of the Oz books created by L. Frank Baum and his successors, and the eighteenth written by Ruth Plumly Thompson. Question: Jinnicky the Red Jinn was a character that appeared in what 1938 novel by L. Frank Baum?
Answer:
The Silver Princess in Oz