Detailed Instructions: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
See one example below:
Problem: Passage: Nearing London, Oliver encounters Jack Dawkins, a pickpocket more commonly known by the nickname the "Artful Dodger", and his sidekick, a boy of a humorous nature named Charley Bates, but Oliver's innocent and trusting nature fails to see any dishonesty in their actions. The Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows the Dodger to the "old gentleman's" residence. In this way Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Solution: Who believes Fagin's gang make wallets and handkerchiefs?.
Explanation: This question is based on the following sentence in the passage "He believes they make wallets and handkerchiefs". It evaluates the understanding that the pronoun "he" refers to name "Oliver". You can ask questions like this one about most pronouns in a paragraph.

Problem: Passage: Aaron Copland wrote that although Faure's works can be divided into the usual "early", "middle" and "late" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Faure in even the earliest works, and traces of the early Faure in the works of his old age: "The themes, harmonies, form, have remained essentially the same, but with each new work they have all become more fresh, more personal, more profound." When Faure was born, Berlioz and Chopin were still composing; the latter was among Faure's early influences. In his later years Faure developed compositional techniques that foreshadowed the atonal music of Schoenberg, and, later still, drew discreetly on the techniques of jazz. Duchen writes that early works such as the Cantique de Jean Racine are in the tradition of French nineteenth-century romanticism, yet his late works are as modern as any of the works of his pupils.Influences on Faure, particularly in his early work, included not only Chopin but Mozart and Schumann. The authors of The Record Guide (1955), Sackville-West and Shawe-Taylor, wrote that Faure learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, "and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated." His work was based on the strong understanding of harmonic structures that he gained at the Ecole Niedermeyer from Niedermeyer's successor Gustave Lefevre. Lefevre wrote the book Traite d'harmonie (Paris, 1889), in which he sets out a harmonic theory that differs significantly from the classical theory of Rameau, no longer outlawing certain chords as "dissonant". By using unresolved mild discords and colouristic effects, Faure anticipated the techniques of Impressionist composers.In contrast with his harmonic and melodic style, which pushed the bounds for his time, Faure's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as "the Brahms of France". The music critic Jerry Dubins suggests that Faure "represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy."To Sackville-West and Shawe-Taylor, Faure's later works do not display the easy charm of his earlier music: "the luscious romantic harmony which had always been firmly supported by a single tonality, later gave way to a severely monochrome style, full of enharmonic shifts, and creating the impression of several tonal centres simultaneously employed.".
Solution:
What is the name of the individual who was among Faure's early influences?