Question: Kath was born to Raymond Elmer "Ray" (1912-2003) and Evelyn Meline Haugen Kath (1916-1982) on January 31, 1946, in Chicago, Illinois. He has an older brother, Rod Kath. He was raised in the Norwood Park neighborhood of Chicago.

Kath was regarded as Chicago's bandleader and best soloist; and his vocal, jazz and hard rock influences are regarded as integral to the band's early sound. He has been praised for his guitar skills and described by rock author Corbin Reiff as "one of the most criminally underrated guitarists to have ever set finger to fretboard". The group's first album, The Chicago Transit Authority, released in 1969, includes Kath's composition "Introduction," described as "Terry's masterpiece" by later Chicago guitarist Dawayne Bailey. The song displays many varied musical styles, including jazz, blues, salsa, rock and roll, acid rock, and pop. The same debut album includes an instrumental guitar piece titled "Free Form Guitar", which consisted largely of feedback and heavy use of the Stratocaster's tremolo arm. The album liner notes indicate that the nearly seven-minute piece was recorded live in the studio in one take, using only a Fender Dual Showman amplifier pre-amped with a Bogen Challenger P.A. amp. The guitar's neck was held together with a radiator hose clamp. The song "Beginnings" includes acoustic rhythm guitar by Kath. For the group's second album, Kath contributed an extended guitar solo on "25 or 6 to 4", which became a live favorite. The same album saw Kath collaborate with orchestral arranger Peter Matz on the four-part suite "Memories of Love", singing the lead vocal. Kath wrote at least one song and contributed at least one lead vocal to every Chicago album released during his lifetime. While 1976's Chicago X is best known for Cetera's number one hit, "If You Leave Me Now", Kath's "Once or Twice" showed he was still writing and recording rock material. He continued this style on the following year's Chicago XI, contributing the funky "Mississippi Delta City Blues" and the aggressive "Takin' It on Uptown", which counterbalanced some of the material other members were producing. After his death, to memorialize Kath and to commemorate the resumption of Chicago, the band composed and published the song "Alive Again" on its first album without him, Hot Streets. Also in Kath's honor, they later published the song "Feel the Spirit".

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer: For the group's second album, Kath contributed an extended guitar solo on "25 or 6 to 4", which became a live favorite.

Question: Francis Jean Marcel Poulenc (French: [fRasis Za maRsel pulek]; 7 January 1899 - 30 January 1963) was a French composer and pianist. His compositions include melodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpetuels (1919), the ballet Les biches (1923), the Concert champetre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmelites (1957), and the Gloria (1959) for soprano, choir and orchestra.

See also: FP (Catalogue of compositions), List of compositions Poulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive." Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity." Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by Rene Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up - "la legende de facilite" - that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts." The pianist Pascal Roge commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust - music as frankly French as Stravinsky's is Slav".

Using a quote from the above article, answer the following question: Did he write his own music?
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Answer:
His melodies are simple, pleasing, easily remembered, and most often emotionally expressive.