Question: Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.

Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

Using a quote from the above article, answer the following question: When were the later sessions?
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Answer: February 15 of that same year at United Recording Studios in Hollywood,

Problem: Dion Francis DiMucci (born July 18, 1939), better known mononymously as Dion, is an American singer, songwriter whose work has incorporated elements of doo-wop, rock and R&B styles--and, most recently, straight blues. He was one of the most popular American rock and roll performers of the pre-British Invasion era. He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del Satins. He is best remembered for the singles "Runaround Sue", "The Wanderer", "Ruby Baby" and "Lovers Who Wander", among his other hits.

By the end of 1960, Dion had released his first solo album on Laurie, Alone with Dion, and the single "Lonely Teenager," which rose to No. 12 in the US charts. The name on his solo releases was simply "Dion." Follow-ups "Havin' Fun" and "Kissin' Game" had less success, and the signs were that Dion would drift onto the cabaret circuit. However, he then recorded, with a new vocal group, the Del-Satins, an up-tempo number co-written with Ernie Maresca. The record, "Runaround Sue," stormed up the U.S. charts, reaching No. 1 in October 1961, and No. 11 in the UK, where he also toured. "Runaround Sue" sold over a million copies, achieving gold disc status. For the next single, Laurie promoted the A-side, "The Majestic," but it was the B-side, Maresca's "The Wanderer," which received more radio play and climbed swiftly up the charts to reach No. 2 in the U.S. in February 1962 and No. 10 in the UK (the 1976 re-release made the UK Top 20). "The Wanderer" has been used in the post-apocalyptic role-playing game Fallout 4, both in-game and in a trailer of the same name released in 2015. By the end of 1961, Dion had become a major star, touring worldwide and making an appearance in the Columbia Pictures musical film Twist Around the Clock. He followed with a string of singles - "Lovers Who Wander" (No. 3), "Little Diane" (No. 8), "Love Came to Me" (No. 10) - in 1962, several of which he wrote or co-wrote. He also had successful albums with Runaround Sue and Lovers Who Wander. At the end of 1962, Dion moved from Laurie to Columbia Records; he was the first rock and roll artist signed to the label, which was an anomaly considering that its then-A&R director, Mitch Miller, passionately loathed that particular genre of music. The first Columbia single, Leiber and Stoller's "Ruby Baby" (originally a hit for the Drifters) reached No. 2, while "Donna the Prima Donna" and "Drip Drop" (another remake of a Drifters hit) both reached No. 6 in late 1963. (Dion also recorded an Italian version of "Donna the Prima Donna" using the identical backup vocals.) His other Columbia releases were less successful, and problems with his addiction and changing public tastes, especially The British Invasion, saw a period of commercial decline.

what brought this period to an end?

Answer with quotes: problems with his addiction and changing public tastes, especially The British Invasion, saw a period of commercial decline.

Problem: Robert Schumann (; 8 June 1810 - 29 July 1856) was a German composer and an influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck, a German pianist, that he could become the finest pianist in Europe, but a hand injury ended this dream.

During Eastertide 1830, he heard the Italian violinist, violist, guitarist, and composer Niccolo Paganini play in Frankfurt. In July he wrote to his mother, "My whole life has been a struggle between Poetry and Prose, or call it Music and Law." By Christmas he was back in Leipzig, at age 20 taking piano lessons from his old master Friedrich Wieck, who assured him that he would be a successful concert pianist after a few years' study with him. During his studies with Wieck, it has been claimed that Schumann permanently injured a finger on his right hand. Wieck claimed that Schumann damaged his finger by the use of a mechanical device designed to strengthen the weakest fingers, a device which held back one finger while he exercised the others. This claim has been discredited by Clara Schumann, who said that the disability was not due to a mechanical device, and Robert Schumann himself refers to it as "an affliction of the whole hand". Some have argued that, as the disability appeared to have been chronic and have affected the hand, and not just a finger, it was unlikely to have been caused by a finger strengthening device. Schumann abandoned the idea of a concert career and devoted himself instead to composition. To this end he began a study of music theory under Heinrich Dorn, a German composer six years his senior and, at that time, conductor of the Leipzig Opera. About this time Schumann considered composing an opera on the subject of Hamlet.

Why did he abandon the idea of a concert career?

Answer with quotes:
During his studies with Wieck, it has been claimed that Schumann permanently injured a finger on his right hand.