In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: Amy Winslow is an art student majoring in painting, who is all by her own. Her mother died when she was a child and her father is not around. As a student she has financial problems, so she is surprised when the couple Joan and Stuart Quinn (Connie Sellecca and David Dukes) decide to take her in their house for a small amount of rent. Little does Amy know that Joan is following her every step through secret cameras, and that she has a hidden agenda for her. Initially, Amy is very content living with the Quinns, believing that she has found the family she has never had. When she loses the university's financial aide through an administration error, Joan immediately steps in to take care of her. They both drink a large amount of wine, and then Joan announces that because she is infertile, they are looking for a surrogate mother. She then tells Amy that they feel that she is the perfect candidate. Amy is flattered, and next day discusses the situation with her friendly teacher Eric Shaw. She then agrees when the Quinns propose to pay for her college fees if she helps them out.
When Amy is a few months pregnant, Joan starts to show strange behavior. Amy feels smothered by Joan's overbearing attitude, feeling that she is being treated like a ten-year-old child. Her oil painting being taken away, Amy looks for it in the basement, only to find old baby clothes. Joan catches her, and becomes furious, scaring Amy away. She later tries to explain the situation by saying that she was pregnant four years ago, though had a miscarriage. Amy does not believe her story, though Eric - who was already 'warned' by Joan that Amy might act paranoid - tells her to focus on her painting, not on the Quinns.

A: Why does Amy agree to be a surrogate mother?
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Q: Passage: The SSSI is designated as a Special Protection Area for birds for its variety of coastal habitats. The large breeding colonies of Sandwich terns and little terns, especially those at Blakeney Point and Scolt Head Island, are of "European importance" as defined in the Birds Directive, and the coast as a whole meets Natural England's criteria for nationally important populations of common terns, pied avocets and reedbed specialists like western marsh harriers, Eurasian bitterns and bearded reedlings. Other birds nesting in the wetlands include the northern lapwing, common redshank, and sedge, reed and Cetti's warblers. Ringed plovers and Eurasian oystercatchers lay their eggs on bare sand in the dunes. Little egrets, Eurasian spoonbills, ruffs and black-tailed godwits are present for much of the year, and the egret and spoonbill have both started nesting within the SSSI.In spring and early summer, migrant birds including the little gull, black tern, Temminck's stint and garganey may pass through on their way to breed elsewhere. In the autumn, birds arrive from the north; some, such as whimbrels, curlew sandpipers and little stints, just pausing for a few days to refuel before continuing south, others staying for the winter. Offshore, great and Arctic skuas, northern gannets and black-legged kittiwakes may pass close by in favourable winds. Large numbers of ducks winter along the coast, including many Eurasian wigeons, Eurasian teals, mallards and gadwalls, goldeneyes and northern pintails. Red-throated divers are usually on the sea, and brent geese feed on sea lettuce and other green algae. Barn owls and sometimes hen harriers quarter the marshes in winter, and snow bunting flocks can be found on the beaches. Thousands of geese, mainly pink-footed, roost at Holkham.The SSSI's north-facing east coast location can be favourable for huge numbers of migrating birds when the weather conditions are right. These may include vagrant rarities. A black-winged stilt, which acquired the nickname "Sammy", arrived at Titchwell in 1993 and became a permanent resident up to its disappearance in 2005. Other major rarities included a western sandpiper at Cley in 2012, a rufous-tailed robin at Warham Greens in 2011, and a black-winged pratincole at Titchwell in 2009.

A: What is the nickname of the black-winged stilt that appeared in 1993?
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Q: Passage: Aaron Copland wrote that although Faure's works can be divided into the usual "early", "middle" and "late" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Faure in even the earliest works, and traces of the early Faure in the works of his old age: "The themes, harmonies, form, have remained essentially the same, but with each new work they have all become more fresh, more personal, more profound." When Faure was born, Berlioz and Chopin were still composing; the latter was among Faure's early influences. In his later years Faure developed compositional techniques that foreshadowed the atonal music of Schoenberg, and, later still, drew discreetly on the techniques of jazz. Duchen writes that early works such as the Cantique de Jean Racine are in the tradition of French nineteenth-century romanticism, yet his late works are as modern as any of the works of his pupils.Influences on Faure, particularly in his early work, included not only Chopin but Mozart and Schumann. The authors of The Record Guide (1955), Sackville-West and Shawe-Taylor, wrote that Faure learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, "and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated." His work was based on the strong understanding of harmonic structures that he gained at the Ecole Niedermeyer from Niedermeyer's successor Gustave Lefevre. Lefevre wrote the book Traite d'harmonie (Paris, 1889), in which he sets out a harmonic theory that differs significantly from the classical theory of Rameau, no longer outlawing certain chords as "dissonant". By using unresolved mild discords and colouristic effects, Faure anticipated the techniques of Impressionist composers.In contrast with his harmonic and melodic style, which pushed the bounds for his time, Faure's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as "the Brahms of France". The music critic Jerry Dubins suggests that Faure "represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy."To Sackville-West and Shawe-Taylor, Faure's later works do not display the easy charm of his earlier music: "the luscious romantic harmony which had always been firmly supported by a single tonality, later gave way to a severely monochrome style, full of enharmonic shifts, and creating the impression of several tonal centres simultaneously employed.".

A:
What is the name of the individual who was among Faure's early influences?
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