In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Passage: Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Faure and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired Borodin, Chabrier, Faure and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.
Question: What is the name of the person whose themes are frequently modal instead of using the familiar major or minor scales?
Ravel.

Passage: Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (18641929), was a Venetian violinist who had settled in London with his wife, Louise Marie, nee Ribeyrol (18701962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the premiere of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square.
The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first orchestral engagement was with the Queen's Hall Orchestra I was probably the youngest orchestral musician ever, joining them in 1916. We had an enormous repertory six concerts a week, three hours or more rehearsal a day. In those days we were happy if we began and finished together". While playing in the Queen's Hall Orchestra, Barbirolli also played in the opera pit for the Beecham and Carl Rosa opera companies, in recitals with the pianist Ethel Bartlett, with orchestras in theatres, cinemas, hotels and dance-halls, and, as he said, "everywhere except the street". During the last year of the First World War, Barbirolli enlisted in the army and became a lance-corporal in the Suffolk Regiment. Here he had his first opportunity to conduct, when an orchestra of volunteers was formed. He later described the experience:.
Question: What is the last name of the person who won a scholarship to the Royal Academy of Music in 1912?
Barbirolli.

Passage: Much of the court martial testimony was critical of Bligh's conductby the time of his return to England in August 1793, following his successful conveyance of breadfruit to the West Indies aboard Providence, professional and public opinion had turned against him. He was snubbed at the Admiralty when he went to present his report, and was left on half pay for 19 months before receiving his next appointment. In late 1794 the jurist Edward Christian, brother of Fletcher, published his Appendix to the court martial proceedings, which was said by the press to "palliate the behaviour of Christian and the Mutineers, and to criminate Captain Bligh". Bligh's position was further undermined when the loyalist gunner Peckover confirmed that much of what was alleged in the Appendix was true.Bligh commanded HMS Director at the Battle of Camperdown in October 1797 and HMS Glatton in the Battle of Copenhagen in April 1801. In 1805 while commanding HMS Warrior, he was court-martialled for using bad language to his officers, and reprimanded. In 1806, he was appointed Governor of New South Wales in Australia; after two years a group of army officers arrested and deposed him in the Rum Rebellion. After his return to England, Bligh was promoted to rear-admiral in 1811 and vice-admiral in 1814, but was not offered further naval appointments. He died, aged 63, in December 1817.Of the pardoned mutineers, Heywood and Morrison returned to naval duty. Heywood acquired the patronage of Hood and, by 1803 at the age of 31, had achieved the rank of captain. After a distinguished career, he died in 1831. Morrison became a master gunner, and was eventually lost in 1807 when HMS Blenheim foundered in the Indian Ocean. Muspratt is believed to have worked as a naval steward before his death, in or before 1798. The other principal participants in the court martialFryer, Peckover, Coleman, McIntosh and othersgenerally vanished from the public eye after the closing of the procedures.
Question: What is the last name of Edward's brother?
Christian.