Part 1. Definition
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.
Part 2. 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?
Answer: 1874May
Explanation: 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.
Part 3. Exercise
Context_1 : Flying Hawk (Oglala Lakota: "Cheta Kiya" in Standard Lakota Orthography; a/k/a Moses Flying Hawk; March 1854 December 24, 1931) was an Oglala Lakota warrior, historian, educator and philosopher. Flying Hawk's life chronicles the history of the Oglala Lakota people through the 19th and early 20th centuries, as he fought to deflect the worst effects of white rule; educate his people and preserve sacred Oglala Lakota land and heritage. Chief Flying Hawk was a combatant in Red Cloud's War and in nearly all of the fights with the U.S. Army during the Great Sioux War of 1876. He fought alongside his first cousin Crazy Horse and his brothers Kicking Bear and Black Fox II in the Battle of the Little Big Horn in 1876, and was present at the death of Crazy Horse in 1877 and the Wounded Knee Massacre of 1890. Chief Flying Hawk was one of the five warrior cousins who sacrificed blood and flesh for Crazy Horse at the Last Sun Dance of 1877. Chief Flying Hawk is notable in American history for his commentaries and classic accounts of the Battle of the Little Big Horn, Crazy Horse and the Wounded Knee Massacre, and of Native American warriors and statesmen from who fought to protect their families, defend the invasion of their lands and preserve their culture. Chief Flying Hawk was probably the longest standing Wild Wester, traveling for over 30 years throughout the United States and Europe from about 1898 to about 1930. Chief Flying Hawk was an educator and believed public education was essential to preserve Lakota culture. He frequently visited public schools for presentations. Chief Flying Hawk leaves a legacy of Native American philosophy and his winter count covers nearly 150 years of Lakota history. Context_2 : American Horse (Oglala Lakota: "Wasicu Thasuke" in Standard Lakota Orthography) (a/k/a "American Horse the Elder") (1830September 9, 1876) was an Oglala Lakota warrior chief renowned for Spartan courage and honor. American Horse is notable in American history as one of the principal war chiefs allied with Crazy Horse during Red Cloud's War (18661868) and the Battle of the Little Bighorn during the Great Sioux War of 1876-1877. Chief American Horse was a son of Old Chief Smoke, an Oglala Lakota head chief and one of the last great Shirt Wearers, a highly prestigious Lakota warrior society. He was a signatory to the Fort Laramie Treaty of 1868, along with his brothers Chief Red Cloud and Chief Blue Horse. A month or so after the Treaty, American Horse was chosen a ""Ogle Tanka Un"" (Shirt Wearer, or war leader) along with Crazy Horse, Young-Man-Afraid-of-His-Horses and Man That Owns a Sword. On September 9, 1876, American Horse was mortally wounded in the Battle of Slim Buttes fighting to protect his family and defending against the white invasion of the ""Paha Sapa"" Black Hills. Context_3 : Little Big Man (Lakota: Wichasa Thakala), or Charging Bear, was an Oglala Lakota, or Oglala Sioux, who was a fearless and respected warrior who fought under, and was rivals with, Crazy Horse ("His-Horse-Is-Spirited"). He opposed the 1868 Treaty of Fort Laramie and fought against efforts by the United States to take control of the ancestral Sioux lands in the Black Hills area of the Dakota Territory. He also fought at the Battle of Little Big Horn in the Montana Territory in 1876. Late in life he decided to cooperate with the White conquerors and may have been involved in the murder of his old ally and rival, Crazy Horse, at Fort Robinson in Nebraska in 1877. Context_4 : Live at the Fillmore East is a live album by Neil Young and Crazy Horse featuring guitarist Danny Whitten. In February and March 1970, Young and Crazy Horse went on tour to support "Everybody Knows This Is Nowhere". "Live at the Fillmore East", released in 2006, features performances from the tour. The tour would be the last Neil Young and Crazy Horse tour to feature guitarist Danny Whitten. Context_5 : Kicking Bear (March 18, 1846 May 28, 1904), also called Matho Wanahtake, was an Oglala Lakota who became a band chief of the Miniconjou Lakota Sioux. He fought in several battles with his brother, Flying Hawk and first cousin, Crazy Horse during the War for the Black Hills, including Battle of the Greasy Grass. Context_6 : Crazy Horse Too is a closed strip club located at 2476 Industrial Road in Las Vegas, Nevada, a few blocks west of the Las Vegas Strip. The club was known as Billy Joe's during the 1970s. In 1978, the club was purchased by Mob member Tony Albanese and renamed Billy Joe's Crazy Horse Too, after the Crazy Horse Saloon, another Las Vegas strip club owned by Albanese. In 1984, Rick Rizzolo took over operations of the club when it was purchased by his father, Bart Rizzolo. Rick Rizzolo was a majority owner by 1986. Context_7 : The Crazy Horse, named after the Parisian cabaret Crazy Horse, is a notable cabaret on the Rue de Phenicie in Beirut, Lebanon. It was an infamous nightclub during the 1960s and 1970s when it was both a bar and a brothel, and considered the most outrageous of Beirut's bawdy nightlife establishments. The venue, which was also known for its revues, was large, accommodating hundreds of tables, and the high ceiling was decorated with crystal chandeliers. Members of Lebanese and European high society, the rich and glitzy, along with politicians, spies, Arab sheikhs, and tourists mingled with the hostesses, dancers and prostitutes, making The Crazy Horse the highpoint of Beirut's club scene by 1974. According to Adam Robinson, the author of "Bin Laden: behind the mask of the terrorist", Osama Bin Laden frequented the cabaret when he was a student at Brummana High School in Lebanon. Context_8 : Crazy Horse (Lakota: Thasuke Witko in Standard Lakota Orthography, IPA:/tak witk/ , literally "His-Horse-Is-Crazy"; 1840 September 5, 1877) was a Native American war leader of the Oglala Lakota in the 19th century. He took up arms against the United States federal government to fight against encroachment by white American settlers on Indian territory and to preserve the traditional way of life of the Lakota people. His participation in several famous battles of the American Indian Wars on the northern Great Plains, among them the Fetterman massacre in 1866, in which he acted as a decoy, and the Battle of the Little Bighorn in 1876, in which he led a war party to victory, earned him great respect from both his enemies and his own people. Context_9 : The Crazy Horse Memorial is a mountain monument under construction on privately held land in the Black Hills, in Custer County, South Dakota, United States. It will depict the Oglala Lakota warrior, Crazy Horse, riding a horse and pointing into the distance. The memorial was commissioned by Henry Standing Bear, a Lakota elder, to be sculpted by Korczak Ziolkowski. It is operated by the Crazy Horse Memorial Foundation, a nonprofit organization. Context_10 : Scratchy: The Complete Reprise Recordings is a 2005 compilation album released by the group Crazy Horse. It is a re-issue of the first two Crazy Horse albums, "Crazy Horse" and "Loose", on Reprise Records, with bonus tracks and the first single by the pre-Crazy Horse group Danny & The Memories. fact_1 : He fought in several battles with his brother, Flying Hawk and first cousin, Crazy Horse during the War for the Black Hills, including Battle of the Greasy Grass. fact_2 : He took up arms against the United States federal government to fight against encroachment by white American settlers on Indian territory and to preserve the traditional way of life of the Lakota people. Question: Crazy Horse and Kicking Bear were brothers who fought togther in what war?
Answer:
War for the Black Hills