In this task, you are given a set of context paragraphs, some supporting facts and an answer of a question. Your task is to generate question for given answer based on set of context paragraphs, supporting facts and an answer.
One example is below.
Q: 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. Answer: 1874May
A: 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?
Rationale: 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 generated question.
Q: Context_1 : "Wearing the Inside Out" is a song from Pink Floyd's 1994 album, "The Division Bell". It is the first Pink Floyd song since "Time" from "The Dark Side of the Moon" where Richard Wright sings lead, as well as his final lead vocal on a Pink Floyd album. Additionally, it is the only song on the album for which David Gilmour receives no writing credit, and the only Pink Floyd song post-"Dark Side" to credit neither Roger Waters nor Gilmour. (Four instrumental tracks on The Endless River were however credited to Wright alone.) Context_2 : "Rise" is an instrumental written by Andy Armer and Randy Badazz Alpert, and first recorded by trumpeter Herb Alpert. The instrumental track was included on Alpert's solo album "Rise" and released as a single in 1979. It reached number one on the U.S. "Billboard" Hot 100 in October of that year and remained in the top position for two weeks. Herb Alpert thus became the first (and only) artist to reach the top of the Hot 100 with a vocal performance ("This Guy's in Love with You", 1968) as well as an instrumental performance. "Rise" also spent one week atop the adult contemporary chart. "Rise" was successful on the other charts, peaking at number four on the R&B chart and number seventeen on the disco chart. The recording also received a Grammy Award for Best Pop Instrumental Performance. Songwriters Andy Armer and Randy Badazz Alpert were both nominated for a Grammy Award for Best Instrumental Composition. Context_3 : "A Taste of Honey" is a pop standard written by Bobby Scott and Ric Marlow. It was originally an instrumental track (or recurring theme) written for the 1960 Broadway version of the 1958 British play "A Taste of Honey" (which was also made into the film of the same name in 1961). Both the original and a later recording by Herb Alpert in 1965 earned the song four Grammy Awards. A vocal version of the song, first recorded by Billy Dee Williams (and released in 1961 on the Prestige label), was recorded by the Beatles for their first album in 1963. Barbra Streisand had performed the song as part of her cabaret act during 1962, and recorded it for her debut album The Barbra Streisand Album on Columbia, which won a Grammy for Album of the Year (1963). Context_4 : "Louder than Words" is a song written by David Gilmour and Polly Samson. The song, featuring lyrics written by Samson to accompany a composition by Gilmour, was originally recorded by British rock band Pink Floyd as the closing track of their fifteenth studio album, "The Endless River". The track, which had its roots in the 1993 sessions for the band's previous studio album, "The Division Bell", features a posthumous appearance by former keyboardist and founding member of Pink Floyd, Richard Wright, and an appearance by electronic string quartet Escala. "Louder than Words" is the only song on the album with lyrics, sung by lead vocalist Gilmour. Context_5 : Spirit of the Boogie is the highly successful sixth studio album released in 1975 by Kool & the Gang. It can be seen as a follow-up to "Wild and Peaceful" (1973); The instrumental "Jungle Jazz" uses the same basic rhythm track heard in "Jungle Boogie", but lets the players improvise on their instruments (saxophone, trumpet and flute). Reminiscences or earlier works can be noticed ("Ride The Rhythm" contains the line: "making merry music...", which was the name of a song from their 1972 album, "Good Times"). "Spirit of the Boogie" features Donal Boyce, who was rapping on "Jungle Boogie". Some African influence can be felt, and the band even play in a West-Indian style on "Caribbean Festival", another instrumental track, with once more lots of room for improvisation. Context_6 : The Endless River is the fifteenth and final studio album by the English rock band Pink Floyd. It was released on 7 November 2014 in Friday-release countries and on 10 November elsewhere by Parlophone Records in the United Kingdom and by Columbia Records in the United States. It was the third Pink Floyd album led by guitarist and singer David Gilmour following Roger Waters' departure in 1985 and the first following the death of keyboardist Rick Wright in 2008, who appears posthumously. Context_7 : "Any Colour You Like" is the eighth track from English progressive rock band Pink Floyd's 1973 album, "The Dark Side of the Moon". It is an instrumental written by David Gilmour, Richard Wright and Nick Mason, making it one of three tracks on the album that Roger Waters did not receive writing credit for, the last Pink Floyd track that Waters had no part in writing while he was still a member, and the last Pink Floyd studio track credited to Mason until "The Endless River". Context_8 : "Traffic" is a track single which appeared in the album "Just Be" and "Parade of the Athletes" by Dutch DJ Tiesto. The track contains samples of Sean Deason's track "Psykofuk". When the album "Just Be" was released, his third single "Love Comes Again" was featured with it, "Traffic" turned into a B-side after having great success in Tiesto's concerts and having a music video made which was released in its original form as well as its radio edit version. It is the first instrumental track to reach the top spot in his homeland of the Netherlands in 23 years. Many DJ's did remixes for "Traffic". The track is recorded at 136 BPM. Context_9 : "Good Time" is a song written by Brian Wilson and Al Jardine for the American rock band the Beach Boys. The instrumental track and vocals were recorded by the group in early 1970 but was left unreleased by the group until the 1977 album "Love You". In 1972 American pop duo American Spring released "Good Time" as their second single, recording their voices atop the Beach Boys' instrumental track. Context_10 : "Duet" is a song from British indie pop band Everything Everything. The track was released in the United Kingdom on 24 March 2013 as the third single from the band's second studio album, "Arc" (2013). The track received its first play on 8 January 2013, with "Arc" having been selected as BBC Radio 1 DJ Zane Lowe's "Album of the Week". The single's B-side"+Pendolino"served as the band's first official instrumental track; having been originally recorded in 2011. fact_1 : "Any Colour You Like" is the eighth track from English progressive rock band Pink Floyd's 1973 album, "The Dark Side of the Moon". fact_2 : It is an instrumental written by David Gilmour, Richard Wright and Nick Mason, making it one of three tracks on the album that Roger Waters did not receive writing credit for, the last Pink Floyd track that Waters had no part in writing while he was still a member, and the last Pink Floyd studio track credited to Mason until "The Endless River". fact_3 : The Endless River is the fifteenth and final studio album by the English rock band Pink Floyd. Answer: Any Colour You Like
A:
Which song is an instrumental track by the same band who recorded the album The Endless River?