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.

Ex Input:
Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979). The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed resultsaccording to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello". The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.

Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe". Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year. Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career".
Question: What was the name of the instrumental works by Tippett that was written in a manner of the tone poem or symphonic fantasia exemplified by Sibelius?

Ex Output:
Symphony No. 4.

Ex Input:
Passage: Zappa's relationship with long-time manager Herb Cohen ended in 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner Bros., thereby bypassing DiscReet.In the mid-1970s Zappa prepared material for Lather (pronounced "leather"), a four-LP project. Lather encapsulated all the aspects of Zappa's musical stylesrock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa managed to get an agreement with Phonogram Inc., and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material. Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast Lather and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued different versions of much of the Lather material in 1978 and 1979 as four individual albums (five full-length LPs) with limited promotion.Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 197577 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting.
Question: What was the first name of the man who filed a lawsuit that froze money he'd been awarded with Zappa?

Ex Output:
Herb.

Ex Input:
Passage: In 2003, The Greencards recorded and self-released Movin' On, their debut album, which sold 10,000 copies at shows and online, and entered the top five on the Americana radio charts. Pat Flynn, one of the band members of the New Grass Revival, guested on the recording of Movin' On as a session guitarist, and would return to do so again on Weather and Water. The album was said to break past traditional rules of bluegrass music by integrating a jam-band mindset while blending classical folk balladry and rock 'n' roll into the sound. Contrasting with that appraisal, the album was also cited as a traditional and successful "lo-fi" approach to bluegrass music. Critics noted the virtuoso solos on mandolin, fiddle, and guitar on Movin' On.The Greencards gained more fans and became known by name quickly after the release of Movin' On. The band was credited with performing the most energetic sets during the course of the 2004 Austin City Limits Music Festival, were said to bring a global sound to bluegrass, andby drawing on influences such as Bob Dylan and The Beatleswere pushing the genre's boundaries. Their live show during this period was ranked by the Houston Chronicle in the top five nights of live music for the year in 2004.Movin' On earned The Greencards the 2004 Austin Music Award for Best New Band. Several months after the awards, the band was signed by Dualtone Records and began work on their next album, Weather and Water. The label re-released Movin' On at the beginning of 2005, generating still more airplay and sales.
Question: What is the name of the group whose live show was ranked by the Houston Chronicle in the top five nights of live music for the year in 2004?

Ex Output:
The Greencards.