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 is below.
Q: 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
A: 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?
Rationale: 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.
Q: Context_1 : Gintaras Beresnevicius (July 8, 1961 in Kaunas August 6, 2006 in Vilnius) was a Lithuanian historian of religions specializing in Baltic mythology. He together with Norbertas Velius is considered to be the best specialist in Lithuanian mythology. Context_2 : Pepromene is a goddess and being of fate/destiny in Greek mythology (a being of "the destined share", which implies a person's true calling and fate; in short, the idea that every man is tied to a destiny). The ancient perception of her being gives the name as belonging within other Greek ideas (or "seeings") for destiny and fate (such as Aesa, Moira, Moros, Ananke, Adrasteia and Heimarmene). Context_3 : The list of Lithuanian gods is reconstructed based on scarce written sources and late folklore. Lithuania converted to Christianity in 1387, but elements of Lithuanian mythology survived into the 19th century. The earliest written sources, authored by foreigners and Christians, only briefly mention the Lithuanian gods. Beginning in the 16th century, the pagan religion received more attention from authors, but often their accounts were confused, contradictory, and heavily influenced by various religious agendas. Collection and recording of folklore began in the 19th century, by which time the pagan mythology had become fragmented and mixed with Christian traditions. The cults of old deities transformed into folklore (individual tales, myths, songs, etc.) without associated rituals. Because of such difficulties obtaining data, there is no accepted list of Lithuanian gods. Different authors present wildly contradictory reconstructions of the Lithuanian pantheon. Context_4 : Dalia is the goddess of fate in the Lithuanian mythology. She is the giver and taker of goods and property. Dalia is often confused with and hard to distinguish from Laima, another goddess of fate. Sometimes Dalia is thought of as a different manifestation of Laima. However, Laima is more involved in predicting the length of a person's life while Dalia is more concerned with material wealth a person would earn during the lifetime allotting a proper share (Lithuanian: "dalis") to everyone. According to myths, just as a father divides his estate among the children, so Dievas Senelis (manifestation of supreme god Dievas) allots each newborn with a proper share. Dalia is seen more as an enforcer of Dievas' will rather than a decision maker. She can appear as a woman, lamb, dog, swan, or duck. Context_5 : Asvieniai are divine twins in the Lithuanian mythology, identical to Latvian Dieva deli and the Baltic counterparts of Vedic Ashvins. Both names derive from the same Proto-Indo-European root for the horse *"ek'w-". Old Lithuanian "asva" and Sanskrit "ashva" mean "horse". Asvieniai are represented as pulling a carriage of Saule (the Sun) through the sky. Asvieniai, depicted as "zirgeliai" or little horses, are common motifs on Lithuanian rooftops, placed for protection of the house. Similar motifs can also be found on beehives, harnesses, bed frames, and other household objects. Asvieniai are related to Lithuanian Usinis and Latvian Usins (cf. Vedic Ushas), gods of horses. Context_6 : Laima is a Baltic goddess of fate. She was associated with childbirth, marriage, and death; she was also the patron of pregnant women. Laima and her functions are similar to the Hindu goddess Lakshmi. Context_7 : In the Ugric mythology, Kaltes-Ekwa (Khanty, Kaltes Ankw) was the mother of the hero Mir-Susne-Hum and the wife of the god Num-Torum, who defeated her in heaven. She was also a goddess of the moon associated with the month April; a birth giving goddess (she is called upon by women in child-birth); goddess of fate; goddess of dawn and a shape-shifter, often shown manifested as a hare. Context_8 : Milda, in Lithuanian mythology, is the goddess of love. However, her authenticity is debated by scholars. Despite the uncertainty, Milda became a popular female given name in Lithuania. Neo-pagan societies and communities, including Romuva, organize various events in honor of goddess Milda in May. The Milda Mons, a mountain on Venus, is named after her. The female figure at the top of the Freedom Monument in Riga is affectionately called Milda. Context_9 : Mamitu, also known as Mammetun, Mammetum, or Mammitu was the ancient Akkadian goddess of fate and destiny. She was believed to reside in Irkalla and decree the fates of all human beings based on arbitrary whims. Nonetheless, whatever decrees she issued were irrevocable. She was also worshipped as goddess of the oath, later a chthonic goddess of fate and a judge in the underworld, similar to the Anunnaki. She is occasionally regarded as a consort of Nergal. In some passages, she is also known as a demon of irrevocable curses. Context_10 : The Attukal Bhagavathy Temple is a Hindu religious shrine at Attukal, Trivandrum in Kerala, India. Goddess Bhadrakali (Kannaki), mounted over 'vethala', is the main deity in this temple. Bhadrakali, a form of Mahakali, who killed the demon king Daruka, believed to be born from the third eye of lord Shiva. 'Bhadra' means good and 'Kali' means goddess of time. So Bhadrakali is considered as the goddess of prosperity and salvation. Goddess 'Attukal devi', itself is the supreme mother 'Bhaadrkali devi',)(in soumya aspect) the goddess of power and courage. She is often referred as Kannaki, the heroin of Ilanko Adikal's 'Silapathikaaram'. The temple is renowned for the annual "Attukal Pongala" festival, in which over three million women participate. A festival that has figured in the Guinness Book of World Records for being the single largest gathering of women for a religious activity, the Attukal Pongala continues to draw millions of women with each passing year. According to the Attukal Temple Trust, around 4.5 million devotees are expected to attend the pongala in 2016. Attukal Temple is situated near the heart of the city, 2 kilometres away from Sree Padmanabhaswamy Temple, East Fort in Thiruvananthapuram. Devotees believe that all of their wishes will be fulfilled by the goddess, provide prosperity and can attain salvation. Attukal devi is often worshipped in 3 forms such as Maha Saraswati (goddess of knowledge), Maha Lakshmi (goddess of wealth) and Mahakali/ Durga/ Parvathy (goddess of power). fact_1 : Dalia is the goddess of fate in the Lithuanian mythology. fact_2 : Dalia is often confused with and hard to distinguish from Laima, another goddess of fate. fact_3 : Laima is a Baltic goddess of fate. Answer: Laima
A:
Who is the Baltic goddess of fate often confused with the goddess of fate in the Lithuanian mythology?