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: Napoleon's armies occupied Württemberg from 1800–01, forcing the duke and duchess to flee to Vienna. The royals returned when Frederick II agreed in 1803 to pledge allegiance to Napoleon and part with Württemberg's territory on the Left Bank, an area of 388 square kilometers (150 sq mi). In exchange, according Treaty of Lunéville, Frederick II was named an Elector-prince and given 1,609 square kilometers (621 sq mi) of Right Bank territory. Frederick II, now Elector Frederick I, now tasked his court architect Nikolaus Friedrich von Thouret with renovating the palace in the Neoclassical style. Thouret started in the Ahengalerie and the Ordensbau, working there from 1803 to 1806. For two days in October 1805, Napoleon visited Ludwigsburg to coerce Frederick I into joining the Confederation of the Rhine and thus becoming his ally, compensating Württemberg with neighboring territories in the Holy Roman Empire and Frederick I with the title of King. Frederick I again tasked Thouret with a remodeling, from 1808 to 1811, of the Ordenskapelle and the king's apartment. The final modernizations ordered by the king took place from 1812 to 1816 in the Schlosstheater and Marble Hall. During this time, the ceiling frescoes of the Guard Room and the main staircases of the Neuer Hauptbau were repainted. By the time Frederick I died in 1816, the majority of the palace had been converted to reflect the latest style.Following her husband's death, Charlotte continued to reside at Ludwigsburg, receiving visitors such as her siblings. She tasked Thouret with the renovation of her own apartment, which was carried out between 1816 and 1824. The dowager queen died at the palace on 5 October 1828 following a bout of apoplexy. Charlotte was the last ruler of Württemberg to reside at Ludwigsburg, as Frederick's son and successor, William I, and future kings did not show any interest in the palace. Members of the House of Württemberg continued to reside at the palace into the early 20th century, while the Württembergs moved to Bebenhausen Abbey after the abolition of the monarchy in 1918.
[A]: What is the full name of the person who started in the Ahengalerie and the Ordensbau, working there from 1803 to 1806?


[Q]: Passage: Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's.
Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol […] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing are evident. "The overall impression we get from this solo, as in all of Bix at his best," writes the trumpeter Randy Sandke, "is that every note is spontaneous yet inevitable." Richard Hadlock describes Beiderbecke's contribution to "Jazz Me Blues" as "an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players." He goes on to suggest that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies.
[A]: What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?


[Q]: Passage: Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.
[A]:
What two movements did the man who taught a variety of positions help influence toward the end of his life?