Given the task definition, example input & output, solve the new input case.
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.
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?
Output: 1874May
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.

New input case for you: Context_1 : "Mr. Brownstone" is a song by the American rock band Guns N' Roses, featured on their debut studio album, "Appetite for Destruction" (1987). Slash relates that the song was begun by him and Izzy Stradlin while they were at Stradlin and his girlfriend Dezi Craft's apartment. He states that they were sitting around, complaining about being heroin addicts, when they started improvising lyrics and music ("Brownstone" is a slang term for heroin). The lyrics make a clear reference to the tolerance that the drug causes in the verse that says:""I used to do a little, but a little wouldn't do, so the little got more and more. I just keep trying to get a little better, said a little better than before"". When they had the lyrics all together, with some help from Dezi, they wrote it down on the back of a grocery bag and brought it to Axl Rose. Slash said the lyrics describe a typical day in the life of Slash and Stradlin. He also states that it was the first song the band wrote after being signed by Geffen Records. Context_2 : Pauline Duchambge nee de Montet (1778 23 April 1858) was a French Creole pianist, singer, and composer. Duchambdge (Montet) was born in Martinique, West Indies and was the daughter of a noble family. She was taken to Paris, where she received a convent education and studied the piano from composer and author Jean Baptiste Desormery, son of the famous comic opera actor and composer Leopold-Bastien Desormery. Pauline composed and performed as a singer and a pianist. She studied harmony and composition with Daniel Auber and with Luigi Cherubini, who wrote several compositions for her. She also studied piano and composition with Jan Ladislav Dussek. Pauline left the convent in 1792 and married Baron Duchambge in 1796. In 1798 at the age of 20, she lost both her parents and with them the family fortune. Soon afterwards she was later divorced. It was after these events that Duchamge musical education began in earnest. She studied church music with Jan Dussek, Luigi Cherubini and D.F.E Auber. In 1815, Duchambge met the French poet and novelist, Marceline Desbordes-Valmore beginning a lifelong friendship and collaboration. Their friendship is documented by a lengthy correspondence and a number of songs by Duchambge on Debordes-Valmore's texts including L'adieu tout bas, La fiancee del marin, Je pense a lui, La jeune Chatelaine, Reve du mousse, La sincere and La valse et l'automne. Duchambge also composed music to texts and romances of other female authors such as Mme Amble Tastu and Mme Emile De Girardin. Pauline Duchambge wrote over three hundred romances, a very popular genre in the nineteenth century. Auber deposited three hundred of Duchambge's songs in the Bibliotheque du Conservatoire in Paris. Eleven of Duchambge's individual songs and albums of songs were published between 1827 and 1841 by some of the leading Parisian publishers: Jean Antoine Meissonnier, Jacques-Joseph Frey, A. Petibon, and Ignace Pleyel. Her works reached a German audience through the Berlin publisher Maurice Schlesinger and the Schott firm in Mainz. In addition to songs, Duchambge wrote a few piano pieces. Duchambge had a difficult life, struggling with poverty, delicate health, and the disenchantments of love; her music expresses her emotions. She commented: "Love, it is life! but a life full of troubles, illusions, deceptions, repentance, discouragements. " Context_3 : Around the World is a musical based on the Jules Verne novel, "Around the World in Eighty Days", with a book by Orson Welles and music and lyrics by Cole Porter. It involves an around-the-world adventure by Phileas Fogg. The expensive musical extravaganza opened on Broadway in May 1946 but it closed after 75 performances. Context_4 : "The Beat Continues" is the big band Entre'act overture from the musical "Over Here!", which opened on Broadway at the Shubert Theatre (Broadway) on March 6, 1974. Like other musical overtures, this piece is an instrumental (only) medley of songs from the show (i.e. there are no lyrics). Although the Sherman Brothers, who wrote the music and lyrics for the show, are generally credited as "Richard M. Sherman and Robert B. Sherman" collectively for both the music and lyrics, it is generally accepted that Richard is the primary music composer and Robert, the primary lyricist. Context_5 : Cole Albert Porter (June 9, 1891 October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics, as well as the music, for his songs. Context_6 : "Ricochet" (sometimes rendered "Rick-o-Shay" and also as "Ricochet Romance") is a popular song. The credits show it to be written by Larry Coleman, Joe Darion, and Norman Gimbel, without apportioning the work on the lyrics and music, in 1953. In fact, since Coleman and Darion wrote "Changing Partners" the same year, with Darion as lyricist and Coleman as composer, while Gimbel wrote the English lyric for "Sway" the same year, it can be concluded that Coleman wrote the music and Darion and Gimbel the lyrics. Context_7 : "A Mind Beside Itself" is a three-part song cycle composed of "Erotomania", "Voices" and "The Silent Man". Portnoy stated that the instrumental "Erotomania" was written "off the cuff"as "a bit of a joke and parody". Petrucci penned the lyrics to "Voices", dealing with the subject of mental illness. He researched schizophrenia and similar disorders and used religious terms "to make things more vivid". "When I was writing it, I saw these terms and medical things that were just brilliant," he said. "Like there was a guy who felt that his skin was inside out. I read that and was like 'Oh my God! That's unbelievable; I've got to write about that.'" Petrucci wrote the music and lyrics to the acoustic "The Silent Man". LaBrie described the lyrics as dealing with "communication breakdown, for instance between a father and a son. We feel that we have to play certain roles when around one of our parents, and we never really get to know the real person. I'm lucky that I behave with my own father like I would a friend. We can joke around and go for a beer." A full live performance of the suite can be found on the 2000 "Live Scenes from New York" album. Context_8 : Vernon Duke (10 October[O.S. 27 September]1903 16 January 1969) was an American composer/songwriter, who also wrote under his original name, Vladimir Dukelsky. He is best known for "Taking a Chance on Love" with lyrics by Ted Fetter and John Latouche (1940), "I Can't Get Started" with lyrics by Ira Gershwin (1936), "April in Paris" with lyrics by E. Y. ("Yip") Harburg (1932), and "What Is There To Say" for the "Ziegfeld Follies" of 1934, also with Harburg. He wrote the words and music for "Autumn in New York" (1934) for the revue "Thumbs Up!" Vernon collaborated with lyricists such as Johnny Mercer, Ira Gershwin, Ogden Nash and Sammy Cahn. Context_9 : TuneWiki was a music-centered startup that provides scrolling lyrics through its social music players for cellphones and handheld devices. With over 6 million lyrics and the world's largest scrolling lyrics library, TuneWiki had agreements with the major music publishers including Sony, Universal, and EMI to legally use synchronized lyrics in TuneWiki's music applications. Furthermore, the mobile TuneWiki applications also used to provide lyrics for streaming radio on mobile phones, and TuneWiki has location-based technology to let users see where their favorite music is being played around the world. Users follow other users to discover music and discuss the music they listen to. Context_10 : Jacob "Jake" Kaufman (also known as virt or virtjk) (born April 3, 1981) is an American video game music composer. After starting out creating arrangements and remixes of video game soundtracks, he began his commercial composing career in 2000 with the score to the Game Boy Color port of "Q*bert". He continued to compose music for games for the next couple of years, working primarily with handheld video games. In 2002, he set up the website VGMix, which hosts video game music remixes, and continues to administrate it. His career began to take off over the next few years, resulting in him transitioning jobs into a full-time freelance composer by 2005. Since then he has worked on several big-name projects such as "Contra 4", "," "", and "Shovel Knight". In early 2015, he and Jessie Seely formed CSP Industries, and launched a Kickstarter for "[NUREN] The New Renaissance", a project that they call "the world's first virtual reality rock opera." In late 2015, Kaufman composed and wrote lyrics for "Power Overwhelming", the debut album of parody supergroup Big Bad Bosses. fact_1 : Around the World is a musical based on the Jules Verne novel, "Around the World in Eighty Days", with a book by Orson Welles and music and lyrics by Cole Porter. fact_2 : Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Question: Which state was the composer, who wrote the music and lyrics to "Around the World," born?
Output:
Indiana