Detailed Instructions: 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.
See one example below:
Problem: 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
Solution: 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?
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 generated question.

Problem: Context_1 : Industrial music is a genre of experimental and electronic music that draws on transgressive or provocative sounds and themes. The term was coined in the mid-1970s with the founding of Industrial Records by members of Throbbing Gristle and Monte Cazazza; on Throbbing Gristle's debut album "The Second Annual Report", they coined the slogan "industrial music for industrial people". In general, the style is harsh and challenging. AllMusic defines industrial as the "most abrasive and aggressive fusion of rock and electronic music"; "initially a blend of avant-garde electronics experiments (tape music, musique concrete, white noise, synthesizers, sequencers, etc.) and punk provocation". Context_2 : The following is an incomplete list of industrial music festivals, which encapsulates music festivals focused on industrial music. The list may have some overlap with list of electronic music festivals, list of gothic festivals, and list of heavy metal festivals. Industrial music is a genre of experimental music that draws on transgressive and provocative themes. The term was coined in the mid-1970s, and precursors included acts such as electronic group Kraftwerk, experimental rock acts such as The Velvet Underground and Frank Zappa, psychedelic rock artists such as Jimi Hendrix, and composers such as John Cage. AllMusic defines industrial as the "most abrasive and aggressive fusion of rock and electronic music"; "initially a blend of avant-garde electronics experiments (tape music, musique concrete, white noise, synthesizers, sequencers, etc.) and punk provocation". Context_3 : Kekal (sometimes stylized as KEKAL) is a heavy metal and electronic music band formed in 1995 in Jakarta, Indonesia. According to AllMusic, Kekal was one of the first heavy metal bands from Indonesia to make international inroads, and according to sociologist of heavy metal, Keith Kahn-Harris, was one of the few extreme metal bands from Southeast Asia to ever make more than a minimal impression on the global scene. Founded by two musicians known simply Yeris and Newbabe, the band underwent some shifts in lineup in its early years, but emerged with a consistent lineup of three key-members, guitarist/vocalist Jeff Arwadi, bassist Azhar Levi Sianturi, and guitarist Leo Setiawan. Frequently labeled as black metal, progressive metal, and avant-garde metal, Kekal plays a very diverse range of music styles within the frame of metal and rock, incorporating many other music genres such as ambient, electronic, jazz fusion, and progressive rock. Over the course of its career, Kekal has transitioned from a heavy metal-based style to a more experimental and electronic sound. Context_4 : The White Room is the fourth and final studio album by British electronic music group The KLF, released in March 1991. Originally scheduled for 1989 as the soundtrack to a film of the same name, the album's direction was changed after both the film and the original soundtrack LP were cancelled. Most tracks on the original album version are present in the final release, though in significantly remixed form. Context_5 : I Dreamt of a Dragon (album) is the sixth official studio album of Serbian industrial group dreDDup. dreDDup called Nautilus (album) their final studio record but eventually decided to make another one. I Dreamt of a Dragon came as a surprise to their fans, having the band abandon their aggressive style of music and going to more electronic and commercial sound. It was recorded during the period 2013-2014 in DURU studio. The complete production and studio mastering/mixing was done by miKKa. The story about this album goes around new beginning after Nautilus story finished. The light after darkness is the main motive for dreDDup. Album cover was created by artists Blanka Pavlovic and Bojana Jarosenko. This album also concluded some guest musicians such as Mar2tA of Zbogom Brus Li , Dario Seraval of Borghesia and actress Ljuma Penov. Album is still waiting for a record deal. Context_6 : Shaking the Habitual is the fourth and final studio album by Swedish electronic music duo The Knife, released on 5 April 2013 by Rabid Records. The album was released as a double CD and triple LP, and as a digital download. The album was lauded by critics at the time of its release and was featured on several year end best lists. Context_7 : In Utero is the third and final studio album by American rock band Nirvana, released on September 21, 1993, by DGC Records. Nirvana intended the record to diverge significantly from the polished production of its previous album, "Nevermind" (1991). To capture a more abrasive and natural sound, the group hired engineer Steve Albini to record "In Utero" during a two-week period in February 1993 at Pachyderm Studio in Cannon Falls, Minnesota. The music was recorded quickly with few studio embellishments, and the song lyrics and album packaging incorporated medical imagery that conveyed frontman Kurt Cobain's outlook on his publicized personal life and his band's newfound fame. Context_8 : Dust is the sixth studio album by the Scottish Celtic fusion band Peatbog Faeries, released on 8 August 2011 on Peatbog Records, although pre-release copies were released on 20 July 2011 through the band's online shop. Following the band's 2008 tour and subsequent live album, the band's fiddle player Adam Sutherland and drummer Iain Copeland left the band, replaced by Peter Tickell and Stu Haikney respectively whose experience helped stir the band in a new direction. The band set to record "Dust" in 2011 with longtime producer Calum MacLean, beginning work in Orbost and concluding work at Cumbernauld College. Haikney brought experimental fiddle techniques to the band, and similarly experimental production techniques, whilst the entire band experimented with various genres of music including African music, funk, reggae, ambient music and electronic music alongside the band's traditional Celtic fusion sound. The brass sound of previous albums also returned. The album was also an attempt to translate the band's live sound to studio work. Context_9 : Call to Preserve was an American Christian and straight edge crossover thrash band who played a fusion hardcore punk and metalcore group. They come from Rockledge, Florida. The band started making music in 2003, and disbanded in 2011. Their membership was vocalist, John Ellis, guitarists, Duke Ahrens, Matt Aviles, and Harbor Partin, bass guitarist, Kyle Bowen, and drummer, Mike Aviles. The band released one independently made extended play, "Call to Preserve", in 2003. Their first studio album, "Unsinkable", was released by Strike First Records, in 2006. The subsequent studio album, "From Isolation", was released by Facedown Records, in 2008. They released, "Life of Defiance", with Facedown Records, in 2010, and this was final studio album. Their last release, an extended play, "Validation", was released by Facedown Records, in 2011, marking this as their final musical recording. Context_10 : Tenements (of the Anointed Flesh) is the fourth and final studio album by British industrial black metal band The Axis of Perdition. It was released on May 2, 2011, on Code666 Records. Dan "Storm" Mullins could not play drums on this album due to a broken arm so drums were programmed. fact_1 : Tenements (of the Anointed Flesh) is the fourth and final studio album by British industrial black metal band The Axis of Perdition. fact_2 : Industrial music is a genre of experimental and electronic music that draws on transgressive or provocative sounds and themes. Answer: Industrial music
Solution:
What is the genre that AllMusic defines as the most abrasive and aggressive fusion of rock and electronic music and is used in the fourth and final studio album by The Axis of Perdition?