In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[Q]: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later.
Question: What is the first name of the person that received letters in 1632 showing that the man who was a target of musical controversy was still preparing a defence of the seconda practica?
[A]: Giovanni.

[Q]: Passage: Broadway star Al Howard has a habit of walking out on hit shows. His sister Molly promises his agent he will never do it again, but he is banned from Broadway. Molly tracks Al down in Mexico, where he is on a binge and tells him she is done taking care of him. When Molly runs into Dorothy Wayne a friend who is a dancer, she begs Dorothy to form a team with Al, because she can get Al a job if he has a partner. At first Molly is reluctant but finally agreed.
It takes some work to convince Al, but he eventually agrees to form a team with Dorothy. They become a big success in Chicago. Dorothy falls in love with Al and thinking that he does not return her affection decides to quit the act. Al asks her to stay, telling her that he plans to open his own nightclub on Broadway. Molly introduces Al to Duke Hutchinson a gangster who is willing to back the club as a showcase for his wife, Luana Bell a torch singer who wants to make a comeback. Al flirts with Luana, Dorothy warns him about his involvement with Luana, but Al continues his flirtation with her. Duke gives Al an additional $30,000 to open the club, but before opening night, Al uses the money to post bond for Molly, who has been arrested on suspicion of murder.
When Al turns down a proposal from Luana, she angrily tells Duke the club will not open on schedule, and he sends gunmen to kill Al. At the last minute, Molly is cleared of the murder and the necessary money is returned, with the show opening on time and to great applause. Duke tries to call off his gunmen, but Luana does not give them the message. Al finally realizes that he is in love with Dorothy and asks her to dinner. As they step out the door, Dorothy sees the gunmen and throws her body in front of Al. She is wounded and as Al holds her, he tells Dorothy that he loves her. The doctor proclaims that Dorothy will be fine and Al's club is a huge success.
Question: What is the full name of the person who is the brother of the person cleared of murder?
[A]: Al Howard.

[Q]: Passage: The first years of the 14th century were marked by famines, culminating in the Great Famine of 131517. The causes of the Great Famine included the slow transition from the Medieval Warm Period to the Little Ice Age, which left the population vulnerable when bad weather caused crop failures. The years 131314 and 131721 were excessively rainy throughout Europe, resulting in widespread crop failures. The climate changewhich resulted in a declining average annual temperature for Europe during the 14th centurywas accompanied by an economic downturn.
These troubles were followed in 1347 by the Black Death, a pandemic that spread throughout Europe during the following three years. The death toll was probably about 35 million people in Europe, about one-third of the population. Towns were especially hard-hit because of their crowded conditions. Large areas of land were left sparsely inhabited, and in some places fields were left unworked. Wages rose as landlords sought to entice the reduced number of available workers to their fields. Further problems were lower rents and lower demand for food, both of which cut into agricultural income. Urban workers also felt that they had a right to greater earnings, and popular uprisings broke out across Europe. Among the uprisings were the jacquerie in France, the Peasants' Revolt in England, and revolts in the cities of Florence in Italy and Ghent and Bruges in Flanders. The trauma of the plague led to an increased piety throughout Europe, manifested by the foundation of new charities, the self-mortification of the flagellants, and the scapegoating of Jews. Conditions were further unsettled by the return of the plague throughout the rest of the 14th century; it continued to strike Europe periodically during the rest of the Middle Ages.
Question: What continued to strike Europe through the middle ages?
[A]:
the Black Death.