Teacher: 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.
Teacher: Now, understand the problem? If you are still confused, see the following 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
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?
Reason: 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.

Now, solve this instance: Context_1 : The String Sextet in D minor "Souvenir de Florence", Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled "Souvenir de Florence" because the composer sketched one of the work's principal themes while visiting Florence, Italy, where he composed "The Queen of Spades". The work was revised between December 1891 and January 1892, before being premiered in 1892. Context_2 : The Piano Concerto No. 1 in B-flat minor, Op. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. It was revised in the summer of 1879 and again in December 1888. The first version received heavy criticism from Nikolai Rubinstein, Tchaikovsky's desired pianist. Rubinstein later repudiated his previous accusations and became a fervent champion of the work. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concertos. Context_3 : The 1917 Petipa/Ivanov/Drigo revival of Swan Lake is a famous version of the ballet "Swan Lake", (ru. " "), (fr. "Le Lac des Cygnes"). This is a ballet by Pyotr Ilyich Tchaikovsky based on an ancient German legend, presented in either four acts, four scenes (primarily outside Russia and Eastern Europe), three acts, four scenes (primarily in Russia and Eastern Europe) or, more rarely, in two acts, four scenes. Originally choreographed by Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20), it was first presented as "The Lake of the Swans" by the Ballet of the Moscow Imperial Bolshoi Theatre on 20 February/4 March 1877 (Julian/Gregorian calendar dates) in Moscow, Russia. Although the ballet is presented in many different versions, most ballet companies today base their stagings both choreographically and musically on this revival by Marius Petipa and Lev Ivanov, staged for the Imperial Ballet, first presented on 15 January/27 January 1895, at the Imperial Mariinsky Theatre in St. Petersburg, Russia instead of the original version. Context_4 : La Porte Municipal Airport (IATA: LPO,ICAO: KPPO,FAA LID: PPO) is a city-owned public-use airport located three miles (5km) south of the central business district of La Porte, a city in La Porte County, Indiana, United States. Context_5 : Elizabeth de la Porte was born at Johannesburg in South Africa on 15 September 1941, the daughter of William James Tomlinson and his wife, the singer Betsy de la Porte. For her schooling she attended Kingsmead College in Johannesburg. For her piano studies she went to Adolph Hallis, and for Bach and for theory to Stefan Zondagh. She was in her mid-teens when she played the Tchaikovsky First Piano Concerto for a South African radio broadcast; however her strongest affinities always lay with J. S. Bach. When she won the University of South Africa's Overseas Scholarship it was for her piano performance of Bach's C minor Partita. Context_6 : Boulevard de la Zone is a street in the 13th arrondissement of Paris named from the historical military zone. It has been planted with trees for much of its length of 515m and has an average width of 8m. It runs from the Avenue de la Porte d'Ivry to the Avenue de la Porte de Choisy. It now forms part of the ring-road around Paris, the "boulevard peripherique" or le perif. Context_7 : Undina (sometimes "Undine" or "Ondine") (Russian: ) is an opera in 3 acts by Pyotr Ilyich Tchaikovsky. The work was composed in 1869. The libretto was written by Vladimir Sollogub, and is based on Vasily Zhukovsky's translation of Friedrich de la Motte Fouque's "Ondine". Context_8 : In mid- to late-19th-century Russia, Pyotr Ilyich Tchaikovsky and a group of composers known as The Five had differing opinions as to whether should be composed following Western or native practices. Tchaikovsky wanted to write professional compositions of such quality that they would stand up to Western scrutiny and thus transcend national barriers, yet remain distinctively Russian in melody, rhythm and other compositional characteristics. The Five, made up of composers Mily Balakirev, Alexander Borodin, Cesar Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov, sought to produce a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. While Tchaikovsky himself used folk songs in some of his works, for the most part he tried to follow Western practices of composition, especially in terms of tonality and tonal progression. Also, unlike Tchaikovsky, none of The Five were academically trained in composition; in fact, their leader, Balakirev, considered academicism a threat to musical imagination. Along with critic Vladimir Stasov, who supported The Five, Balakirev attacked relentlessly both the Saint Petersburg Conservatory, from which Tchaikovsky had graduated, and its founder Anton Rubinstein, orally and in print. Context_9 : Le baiser de la fee ("The Fairy's Kiss") is a ballet in one act and four scenes composed by Igor Stravinsky in 1928 and revised in 1950 for George Balanchine and the New York City Ballet. Based on Hans Christian Andersen's short story "Isjomfruen" (English: The Ice-Maiden), the work is an homage to Pyotr Ilyich Tchaikovsky, for the 35th anniversary of the composer's death. Stravinsky elaborated several melodies from early piano pieces and songs by Tchaikovsky in his score. A commission by Ida Rubinstein from 1927, the ballet was choreographed by Bronislava Nijinska and premiered in Paris on 27 November 1928. Context_10 : The Mont d'Ambin base tunnel (also known as the Mont Cenis base tunnel) is the largest engineering work of the LyonTurin rail link project. Reconnaissance work began on the French side in 2002 with the excavation of access points at Modane, then Saint Martin la Porte (2003) and La Praz (2005), and on the Italian side in 2011 at La Maddalena. Construction has yet to start officially, but the 9km reconnaissance gallery that is being tunneled from Saint Martin de la Porte towards Italy is bored along the axis of the South tube of the tunnel and at its final diameter. fact_1 : She was in her mid-teens when she played the Tchaikovsky First Piano Concerto for a South African radio broadcast; however her strongest affinities always lay with J. S. Bach. fact_2 : The Piano Concerto No. 1 in B-flat minor, Op. fact_3 : 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. Answer: Piano Concerto No. 1
Student:
What song, originally composed by Pyotr Ilyich Tchaikovsky, was performed by Elizabeth de la Porte in South Africa?