Given the following context:  It is the Dark Ages, and the Church is fighting against 'black magic'. The medical knowledge of Greek physicians like Hippocrates and Galen had been lost to the medicine of medieval Europe. In 11th-century England, travelling barber surgeons attempted to supply medical care to the ordinary population, often at the risk of the Church persecuting them for witchcraft. Robert Cole has an extraordinary gift, where he can sense when someone left untreated has a terminal illness. He notices this for the first time when he feels it as a little boy when his sick mother is dying of appendicitis, a disease of which he was unaware. The young orphan joins an itinerant barber-surgeon who calls himself Barber. Barber teaches him the basics of medieval medicine, with services such as cupping therapy, bloodletting, and dental extraction. Even as an apprentice Rob recognizes the limitations of these simple practices. When Barber suffers from a cataract, Rob consults a Medicus for him. This Jewish doctor completely heals Barber of his cataracts. He learns a little bit of Jewish culture. He speaks with two children, Jesse and Benjamin. There, Rob sees for the first time a world map, and learns of the famous Ibn Sina, who teaches medicine in distant Persia. So he decides to train there to become a physician. During the Islamic Golden Age, the medicine in the medieval Islamic world is far more advanced than in Europe. The doctor, scientist and philosopher Ibn Sina teaches in Isfahan, the most important school for aspiring practitioners in the world at that time.  answer the following question:  What name does Robert Cole also go by?
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Answer: Rob


Given the following context:  Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically,...  answer the following question:  What is the name of the person whose most avant-garde of sacred compositions is Sept répons des ténèbres, according to Ralph Thibodeau?
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Answer: Poulenc


Given the following context:  Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris. When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher...  answer the following question:  What is the first name of the only child of  Jacques-Joseph-Victor Saint-Saëns?
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Answer:
Camille