Problem: Given the question: Found the following article online, use it to answer the question: What two groups of people was Liszt aware of that his musical works would be experienced by? Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought...
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The answer is:
select connoisseurs

Problem: Given the question: Found the following article online, use it to answer the question: What was the last album to feature O'Hagan as a full-time member? Stereolab introduced easy-listening elements into their sound with the EP Space Age Bachelor Pad Music, released in March 1993. The work raised the band's profile and landed them a major-label American record deal with Elektra Records. Their first album under Elektra, Transient Random-Noise Bursts with Announcements (August 1993), was an underground success in both the US and the UK. Mark Jenkins commented in Washington Post that with the album, Stereolab "continues the glorious drones of [their] indie work, giving celestial sweep to [their] garage-rock organ pumping and rhythm-guitar strumming". In the UK, the album was released on Duophonic Ultra High Frequency Disks, which is responsible for domestic releases of Stereolab's major albums.In January 1994, Stereolab achieved their first chart entry when the 1993 EP Jenny Ondioline, entered at number 75 on the UK Singles Chart. (Over the next three years, four more releases by the band would appear on this chart, ending with the EP Miss Modular in 1997.) Their third album, Mars Audiac Quintet, was released in August 1994. The album contains the single "Ping Pong", which gained press coverage for its allegedly explicit Marxist lyrics. The band focused more on pop and less on rock, resulting in what AllMusic described as "what may be the group's most accessible, tightly-written album". It was the last album to feature O'Hagan as a full-time member. He would continue to make guest appearances on later releases. The group issued an EP titled Music for the Amorphous Body Study Center in April 1995. The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long. Their second compilation of rarities, titled Refried Ectoplasm (Switched On, Vol. 2), was released in July 1995.
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The answer is:
Mars Audiac Quintet

Problem: Given the question: Found the following article online, use it to answer the question: What is the name of the person who hides a steak knife? Julia, a young woman in her mid 20s who makes money as a thief in seedy nightclubs, is abducted from her home and wakes up imprisoned in a jail cell with a glowing implant in the back of her neck. Two other subjects are with her. After multiple sessions of psychological torture, she destroys the cell and adjacent lab in an escape attempt. The two other subjects are killed by a robot, Aries, run by an artificial intelligence named Tau. Aries is about to kill Julia when Alex, the man who has been torturing her arrives and stops it. Alex reveals that the electrical implant is collecting Julia's neural activity for an AI project. Destroying the lab has set his research back. In the face of a two-week deadline, Alex keeps Julia a prisoner in his house and insists that she complete puzzles and cognitive tests. While Alex is away at work each day, Julia converses with Tau about the world outside the house. It is clear that, although intelligent in its own ways, Tau is extremely naive and ignorant of how people feel or the world at large. While Tau begins to understand the harm in Julia's situation, its programming prevents it from releasing her. In exchange for information about the outside world, Tau slowly reveals more information about the house, as well as Alex's experiments. Julia sneaks a look at Alex's tablet and discovers that 10 other subjects have died in his experiments. Seeing her fingerprint on the tablet, Alex assumes that Tau has slipped up in its cleaning duties and punishes it by erasing code or "memories" with a button on a small remote, delivering a form of pain to the AI. Julia notices that Tau's monitoring of her shuts down during its punishment and so she hides a steak knife on the floor next to the kitchen table.
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The answer is:
Julia