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.

Input: Consider Input: Passage: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.
By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 191920 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple that pregnant simplicity that has come upon Elgar's music in the last couple of years but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played for him again later, including at the inaugural concert of the City of Birmingham Orchestra (later City of Birmingham Symphony Orchestra), which Elgar conducted. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.

Output: What are the exact titles of the two separate works that were both received politely but without enthusiasm?

Input: Consider Input: Passage: The whale ear has specific adaptations to the marine environment. In humans, the middle ear works as an impedance equalizer between the outside air's low impedance and the cochlear fluid's high impedance. In whales, and other marine mammals, there is no great difference between the outer and inner environments. Instead of sound passing through the outer ear to the middle ear, whales receive sound through the throat, from which it passes through a low-impedance fat-filled cavity to the inner ear. The whale ear is acoustically isolated from the skull by air-filled sinus pockets, which allow for greater directional hearing underwater. Odontocetes send out high frequency clicks from an organ known as a melon. This melon consists of fat, and the skull of any such creature containing a melon will have a large depression. The melon size varies between species, the bigger the more dependent they are of it. A beaked whale for example has a small bulge sitting on top of its skull, whereas a sperm whale's head is filled up mainly with the melon.The whale eye is relatively small for its size, yet they do retain a good degree of eyesight. As well as this, the eyes of a whale are placed on the sides of its head, so their vision consists of two fields, rather than a binocular view like humans have. When belugas surface, their lens and cornea correct the nearsightedness that results from the refraction of light; they contain both rod and cone cells, meaning they can see in both dim and bright light, but they have far more rod cells than they do cone cells. Whales do, however, lack short wavelength sensitive visual pigments in their cone cells indicating a more limited capacity for colour vision than most mammals. Most whales have slightly flattened eyeballs, enlarged pupils (which shrink as they surface to prevent damage), slightly flattened corneas and a tapetum lucidum; these adaptations allow for large amounts of light to pass through the eye and, therefore, a very clear image of the surrounding area. They also have glands on the eyelids and outer corneal layer that act as protection for the cornea.The olfactory lobes are absent in toothed whales, suggesting that they have no sense of smell. Some whales, such as the bowhead whale, possess a vomeronasal organ, which does mean that they can "sniff out" krill.Whales are not thought to have a good sense of taste, as their taste buds are atrophied or missing altogether. However, some toothed whales have preferences between different kinds of fish, indicating some sort of attachment to taste. The presence of the Jacobson's organ indicates that whales can smell food once inside their mouth, which might be similar to the sensation of taste.

Output: What is the name of the organ in the mouth of the animals that have slightly flattened eyeballs that allows them to smell in their mouths?

Input: Consider Input: Passage: Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protege Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's.
Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music [] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream [] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol [] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing are evident. "The overall impression we get from this solo, as in all of Bix at his best," writes the trumpeter Randy Sandke, "is that every note is spontaneous yet inevitable." Richard Hadlock describes Beiderbecke's contribution to "Jazz Me Blues" as "an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players." He goes on to suggest that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies.
Output: What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?