Problem: What is the name of the person whose years in the Sistine Chapel probably coincide with the relatively early Missa Ave maris stella?  Answer the above question based on the context below:  The paraphrase technique differs from the cantus-firmus technique in that the source material, though it still consists of a monophonic original, is embellished, often with ornaments. As in the cantus-firmus technique, the source tune may appear in many voices of the mass. Several of Josquin's masses feature the paraphrase technique, and they include some of his most famous work including the great Missa Gaudeamus. The relatively early Missa Ave maris stella, which probably dates from his years in the Sistine Chapel choir, paraphrases the Marian antiphon of the same name; it is also one of his shortest masses. The late Missa de Beata Virgine paraphrases plainchants in praise of the Virgin Mary; it is a Lady Mass, a votive mass for Saturday performance, and was his most popular mass in the 16th century.By far the most famous of Josquin's masses using the technique, and one of the most famous mass settings of the entire era, was the Missa pange lingua, based on the hymn by Thomas Aquinas for the Vespers of Corpus Christi. It was probably the last mass that Josquin composed. This mass is an extended fantasia on the tune, using the melody in all voices and in all parts of the mass, in elaborate and ever-changing polyphony. One of the high points of the mass is the et incarnatus est section of the Credo, where the texture becomes homophonic, and the tune appears in the topmost voice; here the portion which would normally set "Sing, O my tongue, of the mystery of the divine body" is instead given the words "And he became incarnate by the Holy Ghost from the Virgin Mary, and was made man."

A: Josquin
Problem: Given the question: What was the date of the premier of the Yale version of the Oceanides?  Answer the above question based on the context below:  The Oceanides (Finnish title: Aallottaret, translated to English as Nymphs of the Waves or Spirits of the Waves; original working title Rondeau der Wellen; in English, Rondo of the Waves), Op. 73, is a single-movement tone poem for orchestra written in 1913–14 by the Finnish composer Jean Sibelius. The piece, which refers to the nymphs in Greek mythology who inhabited the Mediterranean Sea, premiered on 4 June 1914 at the Norfolk Music Festival in Connecticut with Sibelius conducting. Praised upon its premiere as "the finest evocation of the sea ... ever ... produced in music", the tone poem, in D major, consists of two subjects, said to represent the playful activity of the nymphs and the majesty of the ocean, respectively. Sibelius gradually develops this material over three informal stages: first, a placid ocean; second, a gathering storm; and third, a thunderous wave-crash climax. As the tempest subsides, a final chord sounds, symbolizing the mighty power and limitless expanse of the sea. Stylistically, many commentators have described The Oceanides as either an outright example of Impressionism or somehow derivative of that art movement. Others have countered that Sibelius's active development of the two subjects, his sparing use of scales favored by Impressionists, and his prioritization of action and structure over ephemeral, atmospheric background distinguish the piece from quintessential examples, such as Debussy's La mer. Aside from the definitive D major tone poem, two intermediate versions of The Oceanides survive: the first, a three-movement orchestral suite, in E♭ major, that dates to 1913 (movement No. 1 lost); and the second, the initial single-movement "Yale" version of the tone poem, in D♭ major, which Sibelius dispatched to America in advance of his journey but revised prior to the music festival. The Oceanides thus stands alongside En saga, the Lemminkäinen Suite, the Violin Concerto, and the Fifth Symphony as one of Sibelius's most overhauled works. The suite and Yale version, never...
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The answer is:
24 October
[Q]: What is the full name of the person that said "Kerry was hitting a dry spell."?  Answer the above question based on the context below:  The album  was recorded in Los Angeles, California with Reign in Blood producer Rick Rubin. PopMatters reviewer Adrien Begrand observed that Rubin's production "shoves [Dave] Lombardo's drumming right up front in the mix". Guitarist Jeff Hanneman has since said that South of Heaven was the only album the band members discussed before writing the music. Aware that they "couldn't top Reign in Blood", and that whatever they recorded would be "compared to that album", he believed they "had to slow down", something Slayer had never done on albums before, or since. Guitarist Kerry King cited the need to "keep people guessing" as another reason for the musical shift. "In order to contrast the aggressive assault put forth on Reign in Blood, Slayer consciously slowed down the tempo of the album as a whole", according to Slayer's official biography. "They also added elements like undistorted guitars and toned-down vocal styles not heard on previous albums."King has since been critical of his performance, which he describes as his "most lackluster". King attributes this to the fact he had recently married, and moved to Phoenix, Arizona. Describing himself as "probably the odd man out at that point", he stated he "didn't participate as much because of that".  Hanneman said: "We go through dry spells sometimes, but the good thing about having two guitar players that can write music is that you are never gonna go without. I guess at that time, Kerry was hitting a dry spell." King has also been critical of the album in general, describing it as one of his least favorite Slayer albums. He feels  vocalist Tom Araya moved too far away from his regular vocal style, and "added too much singing". Drummer Dave Lombardo has since observed: "There was fire on all the records, but it started dimming when South of Heaven came into the picture. And that's me personally. Again, I was probably wanting something else."Judas Priest's "Dissident Aggressor" is the first cover version to appear on a Slayer studio album. The song was chosen...
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[A]:
Jeff Hanneman