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.

Input: Consider Input: Passage: The modern interest in the Hoysalas is due to their patronage of art and architecture rather than their military conquests. The brisk temple building throughout the kingdom was accomplished despite constant threats from the Pandyas to the south and the Seunas Yadavas to the north. Their architectural style, an offshoot of the Western Chalukya style, shows distinct Dravidian influences. The Hoysala architecture style is described as Karnata Dravida as distinguished from the traditional Dravida, and is considered an independent architectural tradition with many unique features.A feature of Hoysala temple architecture is its attention to exquisite detail and skilled craftsmanship. The tower over the temple shrine (vimana) is delicately finished with intricate carvings, showing attention to the ornate and elaborately detailed rather than to a tower form and height. The stellate design of the base of the shrine with its rhythmic projections and recesses is carried through the tower in an orderly succession of decorated tiers. Hoysala temple sculpture replicates this emphasis on delicacy and craftsmanship in its focus on depicting feminine beauty, grace and physique. The Hoysala artists achieved this with the use of Soapstone (Chloritic schist), a soft stone as basic building and sculptural material.The Chennakesava Temple at Belur (1117), the Hoysaleswara temple at Halebidu (1121), the Chennakesava Temple at Somanathapura (1279), the temples at Arasikere (1220), Amruthapura (1196), Belavadi (1200), Nuggehalli (1246), Hosaholalu (1250), Aralaguppe (1250), Korvangla (1173), Haranhalli (1235), Mosale and Basaralu (1234) are some of the notable examples of Hoysala art. While the temples at Belur and Halebidu are the best known because of the beauty of their sculptures, the Hoysala art finds more complete expression in the smaller and lesser known temples. The outer walls of all these temples contain an intricate array of stone sculptures and horizontal friezes (decorative mouldings) that depict the Hindu epics. These depictions are generally clockwise in the traditional direction of circumambulation (pradakshina). The temple of Halebidu has been described as an outstanding example of Hindu architecture and an important milestone in Indian architecture. The temples of Belur and Halebidu are a proposed UNESCO world heritage sites.

Output: What organization are the temples with known for their sculptures proposed to be world heritage sites?

Input: Consider Input: Passage: After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years laterboth of which were abridged and adapted versions of the 1609 scorethere have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a particular performance or recording.

Output: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?

Input: Consider Input: Passage: The critical reception to the album was generally favourable. Based on 40 reviews, review aggregate website Metacritic reported a rating of 78 out of 100. There were mixed comments about the ballads; two reviewers noted a disparity between the energy of the ballads to different songs. Drowned in Sound commented that, "ballads remain a strong suit, particularly the easy grace of the title track, but more often than not sit awkwardly next to the more toothsome numbers and feel under-produced by comparison" with similar comments from AllMusic who said, "Made in the Dark's main weakness might be its ballads, but that may just be in comparison to its many energetic moments, which are so addictive that it feels like a forced come-down whenever the band slows things down." However, The Observer gave a positive evaluation of the ballads; "Hot Chip have had a happy way with a subliminal power ballad. And Made in the Dark can boast four of the best." Pitchfork described it as a "patchy, turbulent record" due to the use of many different individual components and also said that it was a "good record but not a great one". Martin responded to the criticism made by Pitchfork:
I think the fact that we've managed to be successful, in getting good chart positions in the U.K. and at the same time making a record that is actually quite weird and confusing to even a site like Pitchforkthe guy doesn't seem to actually get what we're trying to doit's kind of cool to me.
Pitchfork, despite their initial rating, went on to list the album number 23 on their list of the fifty best albums of 2008, and would later state that "its bold charms have lent it a fond longevity." Another element that caused mixed reception was the use of a Todd Rundgren sample in "Shake a Fist", which musicOMH called "delightful" but The Guardian described it as grating. musicOMH, whose description of the album was positive, said that tracks "Ready for the Floor" and "Bendable Poseable" had elements reminiscent of previous album The Warning. The Times said that although the execution was "novel" and the song "Made in the Dark" was "exquisite", that much of Made in the Dark "seems to spring from sticky relationship issues". Comparisons were also made to Paul McCartney's McCartney II album with songs like "Wrestlers", "Bendable Poseable", "Whistle for Will" and "We're Looking for a Lot of Love", which were described as having the "airless proto-electronica" of McCartney II.In regards to lyrics, AllMusic said the album "boasts some of Hot Chip's most kinetic music, with rhythms and melodies that are just as hyper-articulate as the word play." Rolling Stone summarised the album as having "catchy tunes, monster grooves, and lyrics resolving the heartfelt and the smartass".
Output: What is the exact name of the title track described by Drowned in Sound as having easy grace?