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 input: 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 output: 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.
Q: Context_1 : Jeanne Marie Beaumont is an American poet, author of four poetry collections, most recently, "Letters from Limbo" (CavanKerry Press, 2016), and "Burning of the Three Fires" (BOA Editions, Ltd. 2010), "Curious Conduct" (BOA Editions, Ltd., 2004), and "Placebo Effects" (Norton, 1997). Her work has appeared in "Boston Review, Barrow Street, Colorado Review, Court Green, Harper's, Harvard Review, Manhattan Review, The Nation, New American Writing, Ploughshares, Poetry Northwest, Witness," and "World Literature Today," and she has had poems featured on "The Writer's Almanac with Garrison Keillor." In 2006, San Francisco film-maker Jay Rosenblatt made a film based on her poem "Afraid So" as narrated by Garrison Keillor. The film has been shown at several major international film festivals, and included on a program of Rosenblatt's work screened at the Museum of Modern Art in October 2010. Beaumont was co-editor of "American Letters & Commentary" from 1992 to 2000. She was judge for the 2011 Cider Press Review Book Award. She grew up in the suburban Philadelphia area and moved to New York City in 1983. She earned her B.A. from Eastern College and an M.F.A. in Writing from Columbia University. She has taught at Rutgers University and regularly teaches at the 92nd Street Y. She served as the Director of The Frost Place Advanced Seminar from 20072010, and serves on the faculty for the Stonecoast MFA Program in Creative Writing. Context_2 : "Autumn Day in Kui Prefecture" is a poem by 8th-century Chinese poet Du Fu (712770). The full title of this poem is "Autumn Day in Kui Prefecture, A Song Submitted to Supervisor Zheng and Advisor Li, in One Hundred Rhymes" (according to title translation by Alfreda Murck). As a poem, "Autumn Day in Kui Prefecture" is an example of Tang poetry, which received considerable attention during the Song dynasty, in Song poetry, and later, even through modern times. During the Song dynasty Du Fu's "Autumn Day in Kui Prefecture" received particular attention, with the poem being subtly alluded to through rhyme-scheme referencing by Su Shi and his circle: in other words, Su Shi and the poets of his circle wrote poems which utilized the same rhyming words from Du Fu's poem, thus subtly referencing the sense and sentiment of Du Fu's line, but without overtly stating what might be censured as inappropriate. This allowed him and others to express opinions about government and society, without suffering the consequences, as Su Shi had previously done, in the Crow Terrace Poetry Trial, when his poetry was used as evidence resulting in his conviction and exile. Context_3 : "Politics" is a poem by Irish poet William Butler Yeats written on May 24, 1938. It was composed during the time of the Spanish Civil War as well as during the pre-war period of Adolf Hitler's Third Reich in Germany. The poem hints at the political situations of Rome (or Italy), Russia, and Spain, but ultimately discusses topics more relevant to private human interaction rather than public, or political situations. The poem never mentions Germany or Hitler, despite the fact that the "war and war's alarms" surrounding the poem's creation arose from fears of Germany's aggression rather than Italy's, Russia's, or Spain's. Many versions of the text exist: the original typescript of May 1938, the first typescript with hand-written corrections dated August 12, 1938, as well as a final "Coole Edition" of the poem dated June 29, 1939, which was not published until it was included in "Last Poems" in 1939. Yeats intended for the poem to be printed last in the collection, as an envoi to "The Circus Animals' Desertion", and while a debate as to the true order of the poems has continued since 1939, "Politics" was the last lyric poem Yeats wrote and remains the final work printed in all posthumous editions. Context_4 : Limbo is a poem written by Samuel Taylor Coleridge. Most of its text was published posthumously. Context_5 : Alvaro de Campos (] ) (October 15, 1890 November 30, 1935) was one of the poet Fernando Pessoa's various heteronyms, widely known by his powerful and wrathful writing style. According to his author, this "alter ego" was born in Tavira, Portugal, studied mechanical engineering and finally graduated in ship engineering in Glasgow. After a journey in Ireland, Campos sailed to the Orient and wrote his poem "Opiario" in the Suez Canal "onboard". He worked in 'Barrow-on-Furness' (sic) (of which Pessoa wrote a poem about) and Newcastle-on-Tyne (1922). Unemployed, Campos returned to Lisbon in 1926 (he wrote then the poem "Lisbon Revisited"), where he lived ever since. He was born in October, 1890, but Pessoa didn't put an end to the life of Campos, so he should survided his author who died in November, 1935. Campos' works may be split in three phases: the decadentist phase, the futuristic phase and the decadent (sad) phase. He chose Whitman and Marinetti as masters, showing some similarities with their works, mainly in the second phase: hymns like ""Ode Triunfal"" and ""Ode Maritima"" praise the power of the rising technology, the strength of the machines, the dark side of the industrial civilization, and an enigmatic love for the machines. The first phase (marked by the poem "Opiario" shared some of its pessimism with Pessoa's friend Mario de Sa-Carneiro, one of his co-workers in "Orpheu" magazine. In the last phase, Pessoa drops the mask, and reveals through Campos all the emptiness and nostalgy that grew during his last years of life. Context_6 : "Limbo" is a poem by Barbadian poet Edward Kamau Brathwaite. Context_7 : Andrzej Zbylitowski was born "ca." 1565, probably in Zagorzyce, Swietokrzyskie Voivodeship, as a son of Stanisaw and Jadwiga Roznowna, and also a first cousin of Piotr Zbylitowski. After he finished studies abroad, he back to the country, and in 1585 became a courtier on the royal court of Stefan Batory, and later of Zygmunt III Waza. In 1592 he became a Master of the Pantry of the Crown (Polish: "stolnik nadworny" ). In his political views, he was a follower of Jan Zamoyski. As a political poet known for his surname, he became popular during the "sejm" in the years of 15901591. Zbylitowski was a very productive court poet, his most notable political works includes 1587 welcoming writing for Zygmunt III Waza who was back to Rzeczpospolita, congratulatory poem for Battle of Byczyna "O zwyciestwie osiagnietym w r. 1588", today unknown poem for Anna of Finland "Pisanie satyrow puszcz litewskich... o owach w Biaobiezach" (1589), "Epithalamium na wesele... Zygmuntowi III i arcyksieznie JM rakuskiej Annie" (1592) and 1595 genethliacon for the occasion of prince Wadysaw baptism. In 1593 Zbylitowski travelled to Sweden with companion of Zygmunt III Waza, and depicted that travel in poem "Droga do Szwecyjej namozniejszego w ponocnych krainach Pana, Zygmunta III, polskiego i szwedzkiego krola, odprawiona w roku 1594", published later in 1597 by Jakub Siebeneicher. In "ca." 1597 he settled in Zbylitowska Gora where he wrote two rural poems: "Zywot szlachcica we wsi" (1597) and "Wiesniak" (1600). Context_8 : Elegy Written in a Country Churchyard is a poem by Thomas Gray, completed in 1750 and first published in 1751. The poem's origins are unknown, but it was partly inspired by Gray's thoughts following the death of the poet Richard West in 1742. Originally titled "Stanzas Wrote in a Country Church-Yard", the poem was completed when Gray was living near St Giles' parish church at Stoke Poges. It was sent to his friend Horace Walpole, who popularised the poem among London literary circles. Gray was eventually forced to publish the work on 15 February 1751, to pre-empt a magazine publisher from printing an unlicensed copy of the poem. Context_9 : Beroul was a Norman poet of the 12th century. He wrote "Tristan", a Norman language version of the legend of Tristan and Iseult of which a certain number of fragments (approximately 3000 verses) have been preserved; it is the earliest representation of the so-called "vulgar" version of the legend (the "courtly" version being represented by fragments from Thomas of Britain's poem). Eilhart von Oberge wrote a treatment of this version in German, and many of Beroul's episodes that do not appear in Thomas reappear in the Prose "Tristan". Beroul's poem survives in a single manuscript now in the Bibliotheque Nationale in Paris. This copy is poorly written and there is a suggestion that part of the poem was written by a different scribe from the rest. The actual content of the poem also differs from the modern conception of what a narrative poem should be; the plot is disjointed and lacking in a flow of cause and effect, and the characters are poorly defined. Nevertheless, Fedrick proposes that this was common of literature in Beroul's time. Context_10 : Samuel Taylor Coleridge ( ; 21 October 177225 July 1834) was an English poet, literary critic, philosopher and theologian who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He wrote the poems "The Rime of the Ancient Mariner" and "Kubla Khan", as well as the major prose work "Biographia Literaria". His critical work, especially on William Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. Coleridge coined many familiar words and phrases, including suspension of disbelief. He was a major influence on Ralph Waldo Emerson and American transcendentalism. fact_1 : Limbo is a poem written by Samuel Taylor Coleridge. fact_2 : Samuel Taylor Coleridge ( ; 21 October 177225 July 1834) was an English poet, literary critic, philosopher and theologian who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. Answer: England
A:
When was the country that poet who wrote the poem Limbo was born in?