[Q]: Given the below context: By the summer of 1906, Mahler had been director of the Vienna Hofoper for nine years. Throughout this time his practice was to leave Vienna at the close of the Hofoper season for a summer retreat, where he could devote himself to composition. Since 1899 this had been at Maiernigg, near the resort town of Maria Worth in Carinthia, southern Austria, where Mahler built a villa overlooking the Worthersee. In these restful surroundings Mahler completed his Symphonies No. 4, No. 5, No. 6 and No. 7, his Ruckert songs and his song cycle Kindertotenlieder ("Songs on the Death of Children").Until 1901, Mahler's compositions had been heavily influenced by the German folk-poem collection Des Knaben Wunderhorn ("The Youth's Magic Horn"), which he had first encountered around 1887. The music of Mahler's many Wunderhorn settings is reflected in his Symphonies No. 2, No. 3 and No. 4, which all employ vocal as well as instrumental forces. From about 1901, however, Mahler's music underwent a change in character as he moved into the middle period of his compositional life. Here, the more austere poems of Friedrich Ruckert replace the Wunderhorn collection as the primary influence; the songs are less folk-related, and no longer infiltrate the symphonies as extensively as before. During this period Symphonies No. 5, No. 6 and No. 7 were written, all as purely instrumental works, portrayed by Mahler scholar Deryck Cooke as "more stern and forthright ..., more tautly symphonic, with a new granite-like hardness of orchestration".Mahler arrived at Maiernigg in June 1906 with the draft manuscript of his Seventh Symphony; he intended to spend time revising the orchestration until an idea for a new work should strike. The composer's wife Alma Mahler, in her memoirs, says that for a fortnight Mahler was "haunted by the spectre of failing inspiration"; Mahler's recollection, however, is that on the first day of the vacation he was seized by the creative spirit, and plunged immediately into composition of the work that would become his... Guess a valid title for it!
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[A]: Symphony No. 8 (Mahler)
input: Please answer the following: Given the below context: While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions. Guess a valid title for it!
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output: Symphonic poems (Liszt)
Please answer this: Given the below context: The dignitaries and canons constituted the chapter and had the primary role of aiding the bishop in the governance of the diocese. Often the bishop was the titular head of the chapter only and was excluded from its decision-making processes, the chapter being led by the dean as its superior. As the diocese of Moray based its constitution on that of Lincoln Cathedral, the bishop was allowed to participate within the chapter but only as an ordinary canon. Moray was not unique in this: the bishops of Aberdeen, Brechin, Caithness, Orkney and Ross were also canons in their own chapters. Each morning, the canons held a meeting in the chapterhouse where a chapter from the canonical rulebook of St Benedict was read before the business of the day was discussed. Bishop Brice's chapter of eight clerics consisted of the dean, precentor, treasurer, chancellor, archdeacon and three ordinary canons. His successor, Bishop Andrew de Moravia, greatly expanded the chapter to cater for the much-enlarged establishment by creating two additional hierarchical posts (succentor and subdean) and added 16 more prebendary canons. In total, 23 prebendaries had been created by the time of Andrew's death, and a further two were added just before the Scottish Reformation. Prebendary churches were at the bestowal of the bishop as the churches either were within the diocesan lands or had been granted to the bishop by a landowner as patronage. In the case of Elgin Cathedral, the de Moravia family, of which Bishop Andrew was a member, is noted as having the patronage of many churches given as prebends.Rural Deans, or deans of Christianity as they were known in the Scottish Church, supervised the priests in the deaneries and implemented the bishop's edicts. There were four deaneries in the Moray dioceseElgin, Inverness, Strathspey and Strathbogie, and these provided the income not only for the cathedral and chapter but also for other religious houses within and outside the diocese. Many churches were allocated to support designated canons, and... Guess a valid title for it!
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Answer: Elgin Cathedral
Problem: Given the below context: A violent thunderstorm strands a couple and child in the gothic English countryside: little Judy, who is traveling with her selfish, uncaring father, David and her rich, callous, arrogant stepmother Rosemary. David only has Judy due to a court order and barely tolerates her presence. After their car is stuck in mud and the rain begins, they find a mansion. After breaking in, they are found by the owners, a kindly older couple, Gabriel and Hilary Hartwicke. Rosemary threw Judy's beloved teddy bear into the bushes while out in the rain, so Gabriel gifts her a new doll, Mr. Punch. They are invited to stay and while eating, Isabel and Enid (two British punk rocker hitchhikers) barge in with the person who picked them up, Ralph. Gabriel reveals himself to be a talented toy maker; their house is filled with dolls, puppets, and many other beautifully detailed and handmade toys. The Hartwickes invite the stranded travelers to join them to stay as guests until the storm ends and show them to their rooms. Guess a valid title for it!

A:
Dolls (1987 film)