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.

Q: Passage: Despite a political climate that was unfavorable to modern art (often denounced as "formalist" by the communist authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn festival in 1956. Gorecki had won recognition among avant-garde composers for the experimental, dissonant and serialist works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez and Karlheinz Stockhausen.
During the 1970s, Gorecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op. 32, 1972) and Amen (Op. 35, 1975), starkly rejects such techniques. The lack of harmonic variation in Gorecki's Third Symphony, and its reliance on repetition, marked a stage in Gorecki's progression towards the harmonic minimalism and the simplified textures of his more recent work. Because of the religious nature of many of his works during this period, critics and musicologists often align him with other modernist composers who began to explore radically simplified musical textures, tonality, and melody, and who also infused many of their works with religious significance. Like-minded composers, such as Arvo Part and John Tavener, are frequently grouped with Gorecki under the term "holy minimalism," although none of the composers classified as such has admitted to common influences.

A: What is the last name of the person who continued to form acquaintanceships with other experimental and serialist composers ?
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Q: Passage: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Ile Enchantee. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Ile Enchantee. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers he is unlikely to have written something original.

A: What were the name of the two movements discovered by Spencer and Tillett?
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Q: Passage: A vast marshland could only have been formed due to the underlying rock formations in southern Florida. The floor of the Everglades formed between 25 million and 2 million years ago when the Florida peninsula was a shallow sea floor. The peninsula has been covered by sea water at least seven times since the earliest bedrock formation. The rock that makes up the Everglades floor was created as layers of calcium carbonate were compressed by ocean water, making limestone. Fossilized bryozoans and tiny shells, or ooids, make the limestone porous. Water is stored in the rock, sometimes from one year to the next. The length of time that a region in the Everglades remains flooded, called a hydroperiod, determines what particular soils and vegetation are present.
Shorter hydroperiods of three or four months promote the growth of periphyton: algae and other microscopic organisms covered with calcium carbonate crystals. Periphyton is the basic building block of marl, a calcitic mud. In areas with hydroperiods of longer than nine months, peat builds up over hundreds or thousands of years due to many generations of decaying plant matter. Peat and marl are considered nutrient-poor soils that foster the growth of specialized vegetation depending on the length of the regional hydroperiod.
Five types of peat appear in the Everglades system; each type supports a specific type of vegetation, such as sawgrass, tree islands, or custard apple trees. Peat buildup is possible because water prevents oxygen from quickly decomposing plant matter. Once peat buildup reaches the surface, oxygen reacts with the microorganisms to decay the peat rapidly in a process called subsidence. Initial attempts at developing agriculture near Lake Okeechobee were successful, but the nutrients in the peat quickly deteriorated by drying, and were broken down by bacteria in the soil. The dried peat burned or was degraded into carbon dioxide and water by microorganisms. Some homes built near early farms had to restructure their foundations on stilts as the peat deteriorated; other areas lost approximately 8 feet (2.4 m) of soil depth. Between the 1880s and 2005, an estimated 3.4 billion metric tons of soil has been lost in the Everglades due to oxidation. Most of that loss occurs in the Everglades Agricultural Area; the least amount of loss is found in Everglades National Park.

A:
Where is the location that has the least amount of loss of tons of soil in the area with a vast marshland?
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