In this task, you are given a set of context paragraph and some supporting facts to answer a question. Your task is to generate answer for given question based on set of context paragraphs and supporting facts.

Example input: 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. Question: 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?
Example output: 1874May
Example 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 given question.
Q: Context_1 : Charles "Chino" Smith (1903 January 16, 1932) was an American outfielder in Negro league baseball who was one of the Negro leagues' most skillful hitters of the mid-1920s and early 1930s. He stood only 5'6" tall but could hit the ball with prodigious power and efficiency. In fact, Satchel Paige called him one of the two most dangerous hitters in Negro league history. He had a good eye and hit line drives to all fields, striking fear into opposing pitchers. Context_2 : Hilton Lee Smith (February 27, 1907 November 18, 1983) was an American right-handed pitcher in Negro league baseball. He pitched alongside Satchel Paige for the Kansas City Monarchs between 1932 and 1948. In 2001, he was inducted into the National Baseball Hall of Fame. Context_3 : The Jamestown Red Sox were an integrated semi-professional baseball team based in Jamestown, North Dakota in the 1930s. Context_4 : Charlie Davis was a baseball player for the Negro Leagues. He was born March 15, 1927 in Fort Valley, Georgia. He was scouted for the Negro League by Buck O'Neil to play for the Birmingham Black Barons but was traded to the Memphis Red Sox where he played his career from 1950 to 1955. He earned the name "whip" from Charlie Pride. Davis played in the 1953 East-West All Star Game, relieving Satchel Paige He later managed the Rockdale Rawhides. In 2008, he was drafted by the Cincinnati Reds in a Special MLB Draft for Former Negro League Baseball Players. Context_5 : Leroy Robert "Satchel" Paige (July 7, 1906 June 8, 1982) was an American Negro league baseball and Major League Baseball (MLB) pitcher who became a legend in his own lifetime by being known as perhaps the best pitcher in baseball history, by his longevity in the game, and by attracting record crowds wherever he pitched. Context_6 : Jerry Gibson was a member of the Negro League baseball team the Corapolis Grays, a semi-professional baseball team. He played the position of a pitcher. He played against his brother, Hall of Famer Josh Gibson. On July 17, 1938 he pitched a no-hitter. He also pitched for the Cincinnati Tigers. Context_7 : The P.R.R. YMCA Athletic Field, also known as Penmar Park and commonly referred to in the 1930s and 1940s as the 44th and Parkside ballpark, was an athletic field and ballpark in West Philadelphia from 1903 to the early 1950s. It was built by the Pennsylvania Railroad YMCA. It was the home of the Pennsylvania Railroad YMCA of Philadelphia football club, often called the "Railroaders", from 1903 through 1905, and the Philadelphia Stars Negro league baseball club from 1936 until 1952. The field was also used as a multi-sport athletic field used by the local community. During the 1930s the field was the site of home football games of Overbrook High School and St. Joseph's Preparatory School. Overbrook also played their home baseball games there. For example, the Philadelphia College of Pharmacy held 1906 Commencement Week "Athletic Games" at the field. The independent Norfolk Black Bombers all-black barnstorming football team played the Washington Willow Trees on Thanksgiving Day 1942 at the park. Stars co-owner Eddie Gottlieb organized a semi-professional baseball team called the "All-Phillies" which played at the field in its later years. Context_8 : The 'Laurel Black Cats' are a semi-professional baseball team located in Queensburg, Laurel, Mississippi. One of Mississippi's original Independent Negro League's charter franchises, the club was founded in 1932 by Dayton Hair. Negro Leaguers such as Hank Aaron, Willie Mays, Satchel Paige, Piper Davis, Lester Lockett, Artie Wilson and Ed Steele are among the many players to play for the Black Cats. Games were held on Sundays always starting at 3:00 pm so that fans could attend after church. From the 30's to 60's, the Black Cats home ballpark was Rahaim Park, located in the KC Community. In the 1990's, they moved to the Queensburg Community, where they currently remain today. The Black Cats have achieved widespread popularity and a dedicated fan base. Their rivalry with the Hattiesburg Black Sox is arguably the fiercest and most historic in the state of Mississippi semi- pro baseball. After sending several players to college and other Negro League franchises, the team was disbanded in 2006 but later returned in 2010 when former Jones County Jr. College assistant baseball coach Jody P. Babineaux took ownership and management of the club. In 2016 the team won a state championship. Context_9 : The Mobile Tigers, a semi-professional baseball team composed entirely of African-American players based in Mobile, Alabama, was among the leading teams in the Negro League. It was one of several Negro League teams based in Mobile during the same period and was a training ground for at least three Negro League players who later joined professional teams. Context_10 : The Bismarck team was an integrated semi-professional baseball team based in Bismarck, North Dakota in the 1930s. Led by Satchel Paige, Vernon "Moose" Johnson, and Ted "Double Duty" Radcliffe, the club won the 1935 National Baseball Conference semi-pro baseball tournament in Wichita, Kansas. fact_1 : Led by Satchel Paige, Vernon "Moose" Johnson, and Ted "Double Duty" Radcliffe, the club won the 1935 National Baseball Conference semi-pro baseball tournament in Wichita, Kansas. fact_2 : Leroy Robert "Satchel" Paige (July 7, 1906 June 8, 1982) was an American Negro league baseball and Major League Baseball (MLB) pitcher who became a legend in his own lifetime by being known as perhaps the best pitcher in baseball history, by his longevity in the game, and by attracting record crowds wherever he pitched. Question: The Bismarck team was an integrated semi-professional baseball team based in Bismarck, North Dakota in the 1930s, and was led by Satchel Paige, he was an American Negro league baseball and pitcher, in which organization. who became a legend in his own lifetime?
A:
Major League Baseball MLB