Problem: Given the question: What is the last name of the person who was dismissed by Earland?  Answer the above question based on the context below:  By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a...
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The answer is:
Tacuma


Problem: Given the question: Who later expanded their original idea to include a third opera with mystic or religious tones?  Answer the above question based on the context below:  The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's...
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The answer is:
Puccini


Problem: Given the question: What is the name of the person who was transferred to the asylum while one of his children was "crying as though her heart would break"?  Answer the above question based on the context below:  Smetana's biographers describe him as physically frail and unimpressive in appearance yet, at least in his youth, he had a joie-de-vivre that women evidently found attractive. He was also excitable, passionate and strong-willed, determined to make his career in music whatever the hardships, over the wishes of his father who wanted him to become a brewer or a civil servant. Throughout his career he stood his ground; when under the severest of criticism for the "Wagnerism" in Dalibor he responded by writing Libuše, even more firmly based on the scale and concept of Wagnerian music drama. His personal life became stressful; his marriage to Bettina was loveless, and effectively broke down altogether in the years of illness and relative poverty towards the end of his life. Little of his relationships with his children is on record, although   on the day that he was transferred to the asylum, Žofie was "crying as though her heart would break". There is broad agreement among most commentators that Smetana created a canon of Czech opera where none had previously existed, and that he developed a style of music in all his compositions that equated with the emergent Czech national spirit. A modified view is presented by the  music writer Michael Steen, who questions whether "nationalistic music" can in fact exist: "We should recognise that, whereas music is infinitely expressive, on its own it is not good at describing concrete, earthly objects or concepts." He concludes that much is dependent upon what listeners are conditioned to hear.According to the musicologist John Tyrrell, Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land. Tyrrell argues that the almost iconic status awarded to Smetana in his homeland "monumentalized him into a figure where any criticism of his life or work was discouraged" by the Czech authorities, even as late as the last part of the 20th century. As a...
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The answer is:
Smetana