In this task, you are given a set of context paragraph and some supporting facts to answer a question. Your task is to generate answer for given question based on set of context paragraphs and supporting facts.

Let me give you an 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. Question: 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?
The answer to this example can be: 1874May
Here is why: 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 given question.

OK. solve this:
Context_1 : The Longdu dialect is the most widespread dialect of the Zhongshan Min (Chungsan Min) language division within Southern Min Chinese. Native Speakers originated from towns of Dachong (Taichung) and Shaxi, Guangdong (Saakai) (formerly known as Longdu area) in Zhongshan (Chungsan) in the Pearl River Delta of Guangdong. Despite its close proximity, Longdu is not very closely related to the surrounding dialects in the region, which belong to the Yue group. As such, Longdu forms a "dialect island" of Min speakers (two other Min enclaves exist in Zhongshan, Sanxiang and Nanlang). Its native speakers generally understand Cantonese, but not vice versa. Context_2 : The Skopje-Veles dialect (Macedonian: - , "Skopsko-veleski dijalekt") is a member of the central subgroup of the Western group of dialects of the Macedonian language. The dialect is spoken by a larger group of people in the cities Skopje and Veles and in the surrounding villages: Volkovo, Katlanovo, Petrovec and Caska among others. This dialect is of historical importance of the Macedonian language as is considered by many to be a prestige dialect. On August 2, 1945, the Skopje-Veles dialect, together with the other dialects of the central group was officially regulated as a basis of the standard Macedonian language. Many Macedonian writers and linguists were writing on this dialect and considered it to be the standard Macedonian language. One of them was Krste Petkov Misirkov and in his book "For Macedonian affairs" wrote that this dialect should be the standard Macedonian language. He has been writing on Skopje-Veles dialect and on Prilep-Bitola dialect Context_3 : Changting dialect () is a dialect of Tingzhou Hakka mainly spoken in Changting County of northwest Fujian. It is generally regarded as the representative dialect of the Hakka spoken in western Fujian province. Context_4 : Siyi (Seiyap or Sze Yup in Cantonese; ) is a coastal branch of Yue Chinese spoken mainly in Guangdong province, but is also used in overseas Chinese communities. Within the province, it is mainly spoken in the prefecture-level city of Jiangmen, but pockets exist outside of Jiangmen, including the Doumen and Jinwan districts in Zhuhai, Guzhen in Zhongshan and Jun'an in Foshan. Taishanese, which was one of the most important Chinese dialects in Chinese American communities, is considered a representative dialect. Context_5 : The Tingzhou dialect () is a group of Hakka dialects spoken in Longyan and Sanming (historically Tingzhou), southwestern Fujian, China. Tingzhou includes the Hakka dialects spoken in the counties originally under the jurisdiction of Tingzhou: Changting (Tingzhou), Ninghua, Qingliu, Liancheng, Wuping, Shanghang, Yongding and Mingxi. The Changting dialect is generally regarded as the representative dialect of this branch of Hakka. Context_6 : Taishanese, or in the Cantonese romanization Toishanese (; Taishanese: ] ), is a dialect of Yue Chinese. The dialect is related to and is often referred to as Cantonese but has little mutual intelligibility with the latter. Taishanese is spoken in the southern part of Guangdong Province in China, particularly around the city-level county of Taishan located on the western fringe of the Pearl River Delta. In the late 19th century and early 20th century, a significant amount of Chinese emigration to North America originated from this four-counties area called Sze Yup, making Toishanese a dominant variety of the Chinese language spoken in Chinatowns in Canada and the United States. It was formerly the lingua franca of the overseas Chinese residing in the United States. Context_7 : The Upper Polog dialect (Macedonian: , "gornopoloski dijalekt" ) is a member of the western and north western subgroup of the western group of dialects of the Macedonian language. The dialect is mainly spoken in the area around the city of Gostivar to the villages Brvenica and Bogovinje on north, Reka region on west, Porcie on east and Galicnik on south. The dialect is closely related with the neighbouring dialects, particularly with the Kicevo-Porece dialect, Reka dialect and Galicnik dialect. Also in some extent, the dialect shares some similarities with the Lower Polog dialect. The dialect is very well known for using masculine forms of direct and indirect objects, for male and female. Context_8 : The Galicnik dialect (Macedonian: , "Galicki dijalekt") or Mala Reka dialect (Macedonian: , "Malorekanski dijalekt") is a member of the subgroup of western and north western dialects of the western group of dialects of the Macedonian language. The dialect is spoken on small territory on the mountain Bistra in western part of the Republic of Macedonia. The name of the dialect is derived by the biggest village in that area- Galicnik. Also the dialect is spoken in many other small villages including the village Gari. The Galicnik dialect is closely related with the Reka dialect which is spoken north-western of Galicnik dialect. This dialect is well known in Republic of Macedonia because of the archaic words that this dialect has. The dialect can be found in many historically important literary works for the Macedonian literature. One of the most important is Gorgija Puleski and his dictionary of three languages. Context_9 : The Southwestern Bulgarian dialects are a group of Bulgarian dialects which are located west of the yat boundary and are part of the Western Bulgarian dialects. The range of the Southwestern dialects on the territory of Bulgaria includes most of west central and southwestern Bulgaria. The Southwestern dialects border on the Northwestern dialects to the north, the Transitional dialects to the northwest and the Balkan dialects and the Rup dialects to the northeast and southeast, respectively. If the Macedonian language is regarded as a third literary form of Modern Bulgarian, then the Southwestern dialects extend west and southwest to include the Slavic dialects in Vardar Macedonia and the western half of Greek Macedonia. Should the Macedonian language be counted as a separate language, then the southernmost dialect of the group, the Blagoevgrad-Petrich or Pirin dialect, along with the corresponding variety on the Macedonian side of the border, the Maleshevo dialect, constitute a transitional dialect between Bulgarian and Macedonian. A defining characteristic of the Southwestern dialects is the gradual transition from one dialect to another, as well as to dialects which belong to other dialectal groups. For example, the Dupnitsa dialect is transitional to both the Samokov dialect and the Blagoevgrad-Petrich dialect, the Botevgrad dialect is transitional to the Eastern Bulgarian Balkan dialects, and especially to the Pirdop dialect, etc. etc. Context_10 : The Kumanovo dialect (Macedonian: , "Kumanovski dijalekt") is a member of the eastern subgroup of the Northern group of dialects of the Macedonian language. It belongs to the so-called Prizren-Timok dialects, also known as Torlakian. The dialect is typical for the northern dialect of the Macedonian language and is very well known because of the use of some cases, such as the locative case. The Kumanovo dialect is spoken mainly in the city of Kumanovo and the surrounding villages. The dialect is closely related with the neighboring Kriva Palanka dialect. The Kumanovo dialect can be found in the literal works, such as the famous play Lence Kumanovce written by Vasil Iljoski in 1928. The Kumanovo dialect is especially popular sources of humor in the spoken media, whereas the print media tend to favor West dialect forms forhumorous anecdotes, quotations in local news stories. The most significant example where Kumanovo dialect is used in humorous way is the festival "Tumba Fest". fact_1 : Taishanese, which was one of the most important Chinese dialects in Chinese American communities, is considered a representative dialect. fact_2 : The dialect is related to and is often referred to as Cantonese but has little mutual intelligibility with the latter. Question: Siyi Yue has a representative dialect that is related to what larger language?
Answer:
Cantonese