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.
One example: 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 is here: 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.

Now, solve this: Context_1 : Ranganathar (Sanskrit : ) also known as Sri Ranganatha, Aranganathar, Ranga and Thenarangathan is a Hindu deity, more well known in South India, and the chief deity of the Sri Ranganathaswamy Temple, Srirangam. The deity is a resting form of Lord Vishnu, recumbent on the great form of the serpent god Adisesha, one of the foremost of Hindu Gods. His consort is Goddess Lakshmi, also known as Ranganayaki . His two other consorts seen next to his recumbent figure are Bhudevi and Nila Devi. Most of the deities portray a 'smiling' lord in a reclining position over the celestial serpent Adisesha in the sea of cosmic dissolution (pralaya). This is the form in which he is open to listening to all of his devotee's woes, and blesses them. Apart from being worshipped by all Hindus, this form is of particular importance to the Sri Vaishnava community. His name in Tamil means "leader of the place of assembly", coined from two Tamil words 'Arangam' and 'Nathan'. This temple is of particular interest for scholars in the south because of the vast history attached to it in shaping the religion in the south. However, the lack of proper mention about this temple or Lord Vishnu as "resting on a bed of snake in an ocean of milk" in the "Puranas", the Vishnu Sahasranama or other Sanskrit texts pertaining to North India makes it a center of lesser importance in the north. Context_2 : Kukulkan (/kukulkan/ ) (""Plumed Serpent"", ""Feathered Serpent"") is the name of a Maya snake deity that also serves to designate historical persons. The depiction of the Feathered Serpent is present in other cultures of Mesoamerica. Kukulkan is closely related to the deity Q'uq'umatz of the K'iche' people and to Quetzalcoatl of Aztec mythology. Little is known of the mythology of this Pre-Columbian era deity. Context_3 : Yopaat was an important Maya storm god in the southern Maya area that included the cities of Copan and Quirigua during the Classic period of Mesoamerican chronology (c. 250900 AD). Yopaat was closely related to Chaac, the Maya rain god. Yopaat is depicted as bearing a flint weapon that represents a thunderbolt. Yopaat was held responsible for especially violent lightning storms, that were believed to cause earthquakes. He was often represented with a snake in place of one leg, demonstrating a close relationship with K'awiil, another Maya deity with similar attributes. Context_4 : Parque Kukulcan Alamo (Kukulcan Alamo Park) is a stadium located in the city of Merida, Yucatan, Mexico. It is primarily used for baseball, and is the home field of the Leones de Yucatan (Yucatan Lions) Mexican League baseball team. It holds 16,000 people and was opened in 1982. The stadium is named for Kukulkan, the Maya feathered serpent deity. Context_5 : The Temple of the Feathered Serpent is the modern-day name for the third largest pyramid at Teotihuacan, a pre-Columbian site in central Mexico (the term Teotihuacan (or Teotihuacano) is also used for the whole civilization and cultural complex associated with the site). This structure is notable partly due to the discovery in the 1980s of more than a hundred possibly sacrificial victims found buried beneath the structure. The burials, like the structure, are dated to between 150 and 200 CE. The pyramid takes its name from representations of the Mesoamerican "feathered serpent" deity which covered its sides. These are some of the earliest-known representations of the feathered serpent, often identified with the much-later Aztec god Quetzalcoatl. The structure is also known as the Temple of Quetzalcoatl, and the Feathered Serpent Pyramid. Context_6 : Q'uq'umatz (] ) (alternatively Qucumatz, Gukumatz, Gucumatz, Gugumatz, Kucumatz etc.) was a deity of the Postclassic K'iche' Maya. Q'uq'umatz was the Feathered Serpent divinity of the "Popol Vuh" who created humanity together with the god Tepeu. Q'uq'umatz is considered to be the rough equivalent of the Aztec god Quetzalcoatl, and also of Kukulkan of the Yucatec Maya tradition. It is likely that the feathered serpent deity was borrowed from one of these two peoples and blended with other deities to provide the god Q'uq'umatz that the K'iche' worshipped. Q'uq'umatz may have had his origin in the Valley of Mexico; some scholars have equated the deity with the Aztec deity Ehecatl-Quetzalcoatl, who was also a creator god. Q'uq'umatz may originally have been the same god as Tohil, the K'iche' sun god who also had attributes of the feathered serpent, but they later diverged and each deity came to have a separate priesthood. Context_7 : Awanyu (also Avanyu), is a Tewa deity, the guardian of water. Represented as a horned or plumed serpent with curves suggestive of flowing water or the zig-zag of lightning, Awanyu appears on the walls of caves located high above canyon rivers in New Mexico and Arizona. Awanyu may be related to the feathered serpent of Mesoamerica Quetzalcoatl and related deities. Awanyu is a frequent motif on Native American pottery of the Southwestern United States. Context_8 : Ehecatl (, ) is a pre-Columbian deity associated with the wind, who features in Aztec mythology and the mythologies of other cultures from the central Mexico region of Mesoamerica. He is most usually interpreted as the aspect of the Feathered Serpent deity (Quetzalcoatl in Aztec and other Nahua cultures) as a god of wind, and is therefore also known as Ehecatl-Quetzalcoatl. Ehecatl also figures prominently as one of the creator gods and culture heroes in the mythical creation accounts documented for pre-Columbian central Mexican cultures. Context_9 : The Feathered Serpent was a prominent supernatural entity or deity, found in many Mesoamerican religions. It was called Quetzalcoatl among the Aztecs, Kukulkan among the Yucatec Maya, and Q'uq'umatz and Tohil among the K'iche' Maya. The double symbolism used in its name is considered allegoric to the dual nature of the deity, where being feathered represents its divine nature or ability to fly to reach the skies and being a serpent represents its human nature or ability to creep on the ground among other animals of the Earth, a dualism very common in Mesoamerican deities. Context_10 : Quetzalcoatl ( ; ] ) (, ) forms part of Mesoamerican literature and is a deity whose name comes from the Nahuatl language and means "feathered serpent". The worship of a feathered serpent is first documented in Teotihuacan in the first century BC or first century AD. That period lies within the Late Preclassic to Early Classic period (400 BC 600 AD) of Mesoamerican chronology, and veneration of the figure appears to have spread throughout Mesoamerica by the Late Classic period (600900 AD). fact_1 : Kukulkan (/kukulkan/ ) (""Plumed Serpent"", ""Feathered Serpent"") is the name of a Maya snake deity that also serves to designate historical persons. fact_2 : Kukulkan is closely related to the deity Q'uq'umatz of the K'iche' people and to Quetzalcoatl of Aztec mythology. fact_3 : Quetzalcoatl ( ; ] ) (, ) forms part of Mesoamerican literature and is a deity whose name comes from the Nahuatl language and means "feathered serpent". Answer: Q'uq'umatz
Solution:
A maya snake deity that is closely related to a deity whose name means feathered serpent, is also closely related to what other deity?