Teacher: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
Teacher: Now, understand the problem? If you are still confused, see the following example:
Passage: Nearing London, Oliver encounters Jack Dawkins, a pickpocket more commonly known by the nickname the "Artful Dodger", and his sidekick, a boy of a humorous nature named Charley Bates, but Oliver's innocent and trusting nature fails to see any dishonesty in their actions. The Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows the Dodger to the "old gentleman's" residence. In this way Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Solution: Who believes Fagin's gang make wallets and handkerchiefs?.
Reason: This question is based on the following sentence in the passage "He believes they make wallets and handkerchiefs". It evaluates the understanding that the pronoun "he" refers to name "Oliver". You can ask questions like this one about most pronouns in a paragraph.

Now, solve this instance: Passage: In 1896 Ambroise Thomas died, and Theodore Dubois took over as head of the Conservatoire. Faure succeeded Dubois as chief organist of the Madeleine. Dubois' move had further repercussions: Massenet, professor of composition at the Conservatoire, had expected to succeed Thomas, but had overplayed his hand by insisting on being appointed for life. He was turned down, and when Dubois was appointed instead, Massenet resigned his professorship in fury. Faure was appointed in his place. He taught many young composers, including Maurice Ravel, Florent Schmitt, Charles Koechlin, Louis Aubert, Jean Roger-Ducasse, George Enescu, Paul Ladmirault, Alfredo Casella and Nadia Boulanger. In Faure's view, his students needed a firm grounding in the basic skills, which he was happy to delegate to his capable assistant Andre Gedalge. His own part came in helping them make use of these skills in the way that suited each student's talents. Roger-Ducasse later wrote, "Taking up whatever the pupils were working on, he would evoke the rules of the form at hand ... and refer to examples, always drawn from the masters." Ravel always remembered Faure's open-mindedness as a teacher. Having received Ravel's String Quartet with less than his usual enthusiasm, Faure asked to see the manuscript again a few days later, saying, "I could have been wrong". The musicologist Henry Prunieres wrote, "What Faure developed among his pupils was taste, harmonic sensibility, the love of pure lines, of unexpected and colorful modulations; but he never gave them [recipes] for composing according to his style and that is why they all sought and found their own paths in many different, and often opposed, directions."Faure's works of the last years of the century include incidental music for the English premiere of Maurice Maeterlinck's Pelleas et Melisande (1898) and Promethee, a lyric tragedy composed for the amphitheatre at Beziers. Written for outdoor performance, the work is scored for huge instrumental and vocal forces. Its premiere in August 1900 was a great success, and it was revived at Beziers the following year and in Paris in 1907. A version with orchestration for normal opera house-sized forces was given at the Paris Opera in May 1917 and received more than forty performances in Paris thereafter.From 1903 to 1921, Faure regularly wrote music criticism for Le Figaro, a role in which he was not at ease. Nectoux writes that Faure's natural kindness and broad-mindedness predisposed him to emphasise the positive aspects of a work.
Student:
What position did Faure take over when Massenet resigned?