[Q]: The following article contains an answer for the question: What is the full name of the person who greatly admired Ockeghem? , can you please find it? Little is known for certain of Josquin's early life. Much is inferential and speculative, though numerous clues have emerged from his works and the writings of contemporary composers, theorists, and writers of the next several generations. Josquin was born in the area controlled by the Dukes of Burgundy, and was possibly born either in Hainaut (modern-day Belgium), or immediately across the border in modern-day France, since several times in his life he was classified legally as a Frenchman (for instance, when he made his will). Josquin was long mistaken for a man with a similar name, Josquin de Kessalia, born around the year 1440, who sang in Milan from 1459 to 1474, dying in 1498. More recent scholarship has shown that Josquin des Prez was born around 1450 or a few years later, and did not go to Italy until the early 1480s.Around 1466, perhaps on the death of his father, Josquin was named by his uncle and aunt, Gille Lebloitte dit Desprez and Jacque Banestonne, as their heir. Their will gives Josquin's actual surname as Lebloitte. According to Matthews and Merkley, "des Prez" was an alternative name.According to an account by Claude Hemere, a friend and librarian of Cardinal Richelieu whose evidence dates as late as 1633, and who used the records of the collegiate church of Saint-Quentin, Josquin became a choirboy with his friend and colleague the Franco Flemish composer Jean Mouton at Saint-Quentin's royal church, probably around 1460. Doubt has been cast on the accuracy of Hemere's account, however. Josquin may have studied counterpoint under Ockeghem, whom he greatly admired throughout his life: this is suggested both by the testimony of Gioseffo Zarlino and Lodovico Zacconi, writing later in the 16th century, and by Josquin's eloquent lament on the death of Ockeghem in 1497, Nymphes des bois/Requiem aeternam, based on the poem by Jean Molinet. All records from Saint-Quentin were destroyed in 1669; however the collegiate chapel there was a center of music-making for the entire area, and in addition was...
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[A]: Josquin des Prez

[Q]: The following article contains an answer for the question: What is the first name of the person who said Saint-Saens's operas were "a bridge between Meyerbeer and the serious French operas of the early 1890s?" , can you please find it? Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fredegonde, Saint-Saens wrote twelve operas, two of which are operas comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saens "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saens obviously had no time for Massenet's histrionics". Saint-Saens's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saens's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saens have, in general, the strengths and weaknesses of the rest of his music "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saens drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saens was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...
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[A]: Ronald

[Q]: The following article contains an answer for the question: What is the full name of the person who is suspended for flunking math? , can you please find it? Wayne Atterbury, Sr., is president of Middleton College, where he tolerates no foolishness. So when his milquetoast son, Wayne Jr., enrolls as a freshman, the boy makes it clear to newspaper reporter Joyce Gilmore and to every student he meets that school must be all work and no play. This makes him instantly unpopular. Hank Luisetti plays basketball for the school, which has never had a winning team. He is tempted to switch to a different college when Wayne Jr. offers his father's estate as a training camp. Luisetti is surprised when Wayne turns out to have a knack for the game himself. He becomes a basketball star and Joyce becomes a lot more interested in him. A big game against arch-rival State U is coming up, and Middleton finally has a shot at winning. Hank, however, flunks math, so Dean Wilton needs to suspend him from the team. The stuffed-shirt Atterbury watches his son play basketball and gets so excited about winning, he approves a new math test for Hank while the game's in progress. Hank passes, then scores 24 points in the final period to help carry Middleton to victory, whereupon both Atterburys are carried off by the happy crowd.
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[A]:
Hank Luisetti