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 : "Just Give Me a Reason" is a song recorded by American singer and songwriter Pink, featuring fun.'s lead singer Nate Ruess. The song was chosen as the third single from Pink's sixth studio album, "The Truth About Love" (2012). Jeff Bhasker assisted the artists in writing the song and is also the producer. "Just Give Me a Reason" is a pop ballad about the desire to hold on to a relationship even when it appears to be breaking down. It starts off with a simple melody played on the piano, as Pink starts to sing the first verse and chorus, the latter of which introduces drum machines and bass. Ruess then sings the second verse, and the rest of the song is sung as a duet. The song ends with a piano solo, similar to the intro. It has a duration of four minutes and two seconds. Context_2 : Modern is the sixth studio album by English pop punk band Buzzcocks. After the critical success of the band's previous album "All Set" (1996), the band became disillusioned with trying to be a rock band and set out to become more "modern," thus birthing the project. Recording the album in Chipping Barnet with the band's bassist Tony Bassist producing, "Modern" sees a strong electronic music influence, with electronic instruments and drum machines featuring on the songs, especially those written by Steve Diggle, who wrote five of the album's songs whilst Pete Shelley wrote the other eight songs. Context_3 : "Go to Sleep. (Little Man being Erased.)", commonly referred to as "Go to Sleep", is a song by the English rock band Radiohead, released as the second single from their sixth studio album "Hail to the Thief" (2003) on 18 August 2003. The song reached #12 on the UK Singles Chart and reached #39 on the Australian ARIA Charts. Context_4 : Hail to the Thief is the sixth studio album by the English rock band Radiohead. It was released on 9 June 2003, by Parlophone Records in the United Kingdom, and a day later by Capitol Records in the United States. Following "Kid A" (2000) and "Amnesiac" (2001), which incorporated jazz, classical and electronic music influences, "Hail to the Thief" combines alternative rock instrumentation with drum machines, synthesisers, and digital manipulation. Context_5 : "Into the Groove" is a song by American singer Madonna from the 1985 film "Desperately Seeking Susan". It was featured on the re-issue of her second studio album, "Like a Virgin" (1984), outside North America. Sire Records released it on July 23, 1985, as the album's fourth single. Madonna's inspiration behind the song was the dance floor, and she wrote it while watching a handsome Puerto Rican man, across her balcony. Initially written for her friend Mark Kamins, Madonna later decided to use it as the soundtrack of her film "Desperately Seeking Susan". "Into the Groove" consists of instrumentation from synthesizers and drum machines. Madonna's voice is double tracked in the chorus; the song also consists of musical contrasts, overdubs, and Madonna's voice in lower register during the bridge. The lyrics of the song are simple, written as an invitation to dance with the singer. However, it carries sexual innuendos and undertones in the meaning. Context_6 : The discography of Beck, an American rock musician, singer-songwriter, record producer and multi-instrumentalist, consists of twelve studio albums, one compilation album, one remix album, three extended plays (EPs) and forty singles. With a pop art collage of musical styles, oblique and ironic lyrics, and postmodern arrangements incorporating samples, drum machines, live instrumentation and sound effects, Beck has been hailed by critics and the public throughout his musical career as being amongst the most creative and idiosyncratic musicians of 1990s and 2000s alternative rock. Context_7 : Rux Revue is the debut album by Carl Hancock Rux, released by Sony 550 Music which operated through Sony Music's Epic Records division. The album was produced in Los Angeles by the Dust Brothers;Tom Rothrock and Rob Schnapf; featuring drummers Joey Waronker (formerly of R.E.M.) and James Gadson; bassists Atom Ellis (of Link Wray/The New Cars) and Carol Kaye; keyboardist James Hall, bass guitarist Wah-Wah Watson and additional keyboard, Keyboard, Piano and Melodica by Money Mark The album mixes soul, gospel, blues, rock, classical and hip-hop into a collage of machine samples, drum machines, live instrumentation and sound effects, incorporating a gospel influenced Sprechgesang and Vocalese style reliant upon African American alliteration, consonance and assonance while abstaining from the common techniques of poetic monologue popular in spoken word and slam poetry. Context_8 : Kid A is the fourth studio album by the English rock band Radiohead, released on 2 October 2000 by Parlophone. On the verge of a breakdown after promoting Radiohead's 1997 album "OK Computer", songwriter Thom Yorke envisioned a radical change in direction. Radiohead replaced their rock sound with synthesisers, drum machines, the ondes Martenot, string orchestras and brass instruments. They incorporated influences from genres such as electronic music, krautrock, jazz, and 20th-century classical music. They recorded "Kid A" with "OK Computer" producer Nigel Godrich in Paris, Copenhagen, Gloucestershire and their hometown Oxford, England. The sessions produced over 20 tracks, and Radiohead split the work in two albums: "Kid A" and "Amnesiac". The latter was released the following year. Context_9 : Bangalter and Homem-Christo were originally briefly in an indie rock band named Darlin'. When the group disbanded, it left the two to experiment musically with drum machines and synthesisers. The duo released their debut studio album "Homework" through Virgin Records in 1997 to highly positive reviews. The duo's next album "Discovery" (2001) was even more successful, driven by the release of the hit singles "One More Time", "Digital Love" and "Harder, Better, Faster, Stronger". In March 2005, the duo released their third album "Human After All" to mixed reviews. However, the singles "Robot Rock" and "Technologic" achieved considerable success in the United Kingdom. Context_10 : "No-One Driving" is a 1980 song by UK artist John Foxx, and was released as a single in March 1980. It was the second single release from the "Metamatic" album, after "Underpass". The song is typical of Foxx's musical output of the time, featuring a Ballardian dystopian scenario involving an automobile in the lyrics, with music produced using electronic instruments (synthesisers, drum machines, electronic percussion) only. fact_1 : "Go to Sleep. fact_2 : , commonly referred to as "Go to Sleep", is a song by the English rock band Radiohead, released as the second single from their sixth studio album "Hail to the Thief" (2003) on 18 August 2003. fact_3 : Following "Kid A" (2000) and "Amnesiac" (2001), which incorporated jazz, classical and electronic music influences, "Hail to the Thief" combines alternative rock instrumentation with drum machines, synthesisers, and digital manipulation. Answer: Hail to the Thief
Solution:
What was Radioheads sixth studio album that was influenced by alternative rock instrumentation with drum machines, synthesisers, and digital manipulation and featured the single Go to Sleep?