[Q]: The answer to the question: What is the last name of the person whose work was mainly experimental and unusual? is inside the article: Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms. In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 191718, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year..., can you guess it ?
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[A]: Grainger
input: Please answer the following: The answer to the question: What is the name of the person whose works are referenced in films such as the Bunuel and Dali collaboration, L'Age d'Or? is inside the article: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863. Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Theodore Gericault, best known for the politically charged Raft of the Medusa (181819). Luis Bunuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Age d'Or, on which he collaborated with Salvador Dali, and his 1962 The Exterminating Angel.The series' impact on Dali is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazana! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazana! Con muertos!. In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush..., can you guess it ?
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output: Goya
Problem: The answer to the question: What was the first year Boult taught at the Royal College of Music? is inside the article: Boult, unlike many of his contemporaries, preferred the traditional orchestral layout, with first violins on the conductor's left and the seconds on the right. Of the practice of grouping all the violins together on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves sound far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been blowing 'fit to burst' there is trouble for somebody." The trombonist Ray Premru wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From that first small class has come all the later formal training for conductors throughout Britain." In the 1930s Boult ran a series of "conferences for conductors" at his country house near Guildford, sometimes helped by Vaughan Williams who lived a few miles away. From 1962 to 1966 he again taught at the Royal College of Music. In later life, he made time for young conductors who sought his counsel. Among those who studied with or were influenced by Boult were Colin Davis, James Loughran, Richard Hickox and Vernon..., can you guess it ?

A:
1919