What had long, pillar-like appendages and a 4.3-foot-long head?  Answer the above question based on the context below:  Paraceratherium is an extinct genus of hornless rhinoceros, and one of the largest terrestrial mammals that has ever existed. It lived from the early to late Oligocene epoch (34–23 million years ago); its remains have been found across Eurasia between China and the Balkans. It is classified as a member of the hyracodont subfamily Indricotheriinae. Paraceratherium means "near the hornless beast", in reference to Aceratherium, the genus in which the type species P. bugtiense was originally placed. The exact size of Paraceratherium is unknown because of the incompleteness of the fossils. Its weight is estimated to have been 15 to 20 tonnes (33,000 to 44,000 lb) at most; the shoulder height was about 4.8 metres (15.7 feet), and the length about 7.4 metres (24.3 feet). The legs were long and pillar-like. The long neck supported a skull that was about 1.3 metres (4.3 ft) long. It had large, tusk-like incisors and a nasal incision that suggests it had a prehensile upper lip or proboscis (trunk). The lifestyle of Paraceratherium may have been similar to that of modern large mammals such as the elephants and extant rhinoceroses. Because of its size, it would have had few predators and a slow rate of reproduction. It was a browser, eating mainly leaves, soft plants, and shrubs. It lived in habitats ranging from arid deserts with a few scattered trees to subtropical forests. The reasons for the animal's extinction are unknown, but various factors have been proposed.
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Answer: Paraceratherium


What is the title of the album for which there were no vocals or lyrics prepared?  Answer the above question based on the context below:  Slint formed in 1987 in Louisville, Kentucky, from the remnants of the punk rock band Squirrel Bait; the founding members included Brian McMahan (guitar, vocals), David Pajo (guitar), Britt Walford (drums) and Ethan Buckler (bass guitar). The band's debut album, the Steve Albini-produced Tweez, was released on the group's self-owned label Jennifer Hartman Records and Tapes. The album's sound has been described as a combination of "scratchy guitars, thumping bass lines and hard hitting drums". Buckler promptly left the band out of dissatisfaction with Albini's production, and was replaced with Todd Brashear. The band's second recording was for the instrumental extended play Slint, which included a new version of "Rhoda" from Tweez. The EP, which would not be released until 1994, was a departure from Tweez's sound and reflected the band's new musical direction.After the band ended its brief tour in support of Tweez, most of its members attended college. Around this time McMahan and Walford began writing together for the band's next record, creating six new songs which the band practiced throughout the summer of 1990. Slint entered River North Records in August 1990 to record Spiderland. At that time there were no vocals or lyrics prepared for the album, so the band wrote them while in the studio. The album's producer, Brian Paulson, was known for his "live" recording style in the studio, with minimal takes. Paulson recalled "It was weird while I was doing [Spiderland] because I remember sitting there, and I just knew there was something about it. I've never heard anything like this. I'm really digging this but it's really fucking weird."The recording sessions for Spiderland are reputed to have been difficult for the members of the band and were, according to AllMusic, "intense, traumatic and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album." Rumors circulated that at least one member of Slint had been checked into a...
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Answer: Spiderland


What suite written for military band remains a brassbands staple?  Answer the above question based on the context below:  Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow. In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which...
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Answer:
E flat