Given the task definition, example input & output, solve the new input case.
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: 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
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?
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.

New input case for you: Context_1 : The Royal Danish Theatre (Danish: Det Kongelige Teater ) is both the national Danish performing arts institution and a name used to refer to its old purpose-built venue from 1874 located on Kongens Nytorv in Copenhagen. The theatre was founded in 1748, first serving as the theatre of the king, and then as the theatre of the country. The theatre presents opera, the Royal Danish Ballet, classical music concerts (by the Royal Danish Orchestra, which dates back to 1448), and drama in several locations. Context_2 : Nora Bergliot Ibsen (born 1951) is a Norwegian theatrical producer, noted for being the producer of the 2006 Ibsen Year, Norway's major anniversary of playwright Henrik Ibsen's death 100 years earlier, including high profile celebrations in multiple countries. The Ibsen Year was one of the Norwegian government's major cultural undertakings in 2006, aimed at increasing appreciation of Henrik Ibsen and Norwegian culture internationally. The Ibsen Year comprised 8213 separate cultural events, and 83 countries took part in the commemoration. Context_3 : A Doll's House (Bokmal: "Et dukkehjem" ; also translated as "A Doll House") is a three-act play written by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is set in a Norwegian town circa 1879. Context_4 : Betty Mathilde Hennings nee Schnell (18501939) was a Danish actress who entered the Royal Danish Theatre as a ballet dancer but in 1870 turned to acting, first performing in Moliere's "The School for Wives". She later became known for her roles in the plays of Henrik Ibsen, especially as Nora in "A Doll's House". Context_5 : Peer Gynt ( ; ] ) is a five-act play in verse by the Norwegian dramatist Henrik Ibsen published in 1867. It was illustrated by Arthur Rackham as a children's book in 1936. Written in Danishthe common written language of Denmark and Norway in Ibsen's lifetimeit is one of the most widely performed Norwegian plays. Ibsen believed "Per Gynt", the Norwegian fairy tale on which the play is loosely based, to be rooted in fact, and several of the characters are modelled after Ibsen's own family, notably his parents Knud Ibsen and Marichen Altenburg. He was also generally inspired by Peter Christen Asbjrnsen's collection of Norwegian fairy tales, published in 1845 ("Huldre-Eventyr og Folkesagn"). Context_6 : Olaf Poulsen (26 April 1849 26 March 1923) was perhaps the best-known Danish comedic stage actor of his time. He was famous for playing such roles as Nick Bottom in "A Midsummer Night's Dream" and Falstaff, among others for the Royal Danish Theatre. His performance as Old Ekdal in an 1885 production of Henrik Ibsen's "The Wild Duck" was particularly acclaimed. Olaf was by accounts an outsize personality, unafraid to insult wealthy or noble men even when insulting a man in public was a crime in Denmark. Five minutes of his improvisation on a 1913 film reel were described at the time as "the best film ever to leave a Danish factory." Context_7 : Mette Bdtcher (born 1965) is a Danish ballet dancer. Trained at the Royal Danish Theatre's ballet school, she joined the Royal Danish Ballet in 1983. She performed Ophelia in John Neumeier's "Amleth" at the Hamburg Ballet in 1985, where she became a soloist in 1986. In Hamburg she danced the title role in "La Sylphide" before returning to Copenhagen where she performed in Balanchine's "Serenade" and Flemming Flindt's "The Triumph of Death". She has also danced Alvin Ailey's dramatic solo sequence "Witness". Context_8 : Carl Dahlen (1770 December 1, 1851) was a Swedish ballet dancer and choreographer, active first at the Royal Swedish Ballet at the Royal Swedish Opera in Stockholm, and second at the Royal Danish Ballet in Copenhagen at the Royal Danish Theatre in Denmark. He belonged to the first male Swedish stars at the Royal Swedish ballet. Context_9 : The Ibsen Year (Norwegian: "Ibsenaret") was the Norwegian government's official celebration of Henrik Ibsen in 2006, marking the 100th anniversary of his death. The Ibsen Year included cultural events in multiple countries, including an opening ceremony in Oslo attended by the royal family and international guests, television programs, cultural events in Italy, Germany, the United Kingdom, the United States, China and other countries, and an International Gala performance at the Great Pyramid of Giza in Egypt, hosted by the country's First Lady Suzanne Mubarak and also attended by Queen Sonja. The Ibsen Year's artistic director was Bentein Baardson and the producer was Nora Ibsen. The chairman of the supervisory committee was former Norwegian Minister of Culture Lars Roar Langslet. The planning committee of the Ibsen Year had a core budget of around 70 million NOK, not counting TV productions and various other costs. Context_10 : The Royal Danish Ballet is an internationally renowned classical ballet company, based at the Royal Danish Theatre in Kongens Nytorv, Copenhagen, Denmark. It is one of the oldest ballet companies in the world and originates from 1748, when the Royal Danish Theatre was founded. It was finally organized in 1771 in response to the great popularity of French and Italian styles of dance. The company was founded with the opening of the Royal Danish Theatre, which has served as its home since that time.The Royal Danish Ballet school was founded in 1771 under the French ballet teacher Pierre Laurent (1730-1807), Then Vincenzo Galeotti developed it and August Bournonville founded his methodology for the school. fact_1 : She later became known for her roles in the plays of Henrik Ibsen, especially as Nora in "A Doll's House". fact_2 : A Doll's House (Bokmal: "Et dukkehjem" ; also translated as "A Doll House") is a three-act play written by Henrik Ibsen. Answer: A Doll's House
Output:
Betty Mathilde Hennings nee Schnell, was a Danish actress who entered the Royal Danish Theatre as a ballet dancer but in 1870 turned to acting, and later became known for her roles in the plays of Henrik Ibsen, especially as Nora in which threeact play, and the play is set in a Norwegian town circa 1879?