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.
One example: Passage: Nearing London, Oliver encounters Jack Dawkins, a pickpocket more commonly known by the nickname the "Artful Dodger", and his sidekick, a boy of a humorous nature named Charley Bates, but Oliver's innocent and trusting nature fails to see any dishonesty in their actions. The Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows the Dodger to the "old gentleman's" residence. In this way Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Solution is here: Who believes Fagin's gang make wallets and handkerchiefs?.
Explanation: This question is based on the following sentence in the passage "He believes they make wallets and handkerchiefs". It evaluates the understanding that the pronoun "he" refers to name "Oliver". You can ask questions like this one about most pronouns in a paragraph.

Now, solve this: Passage: Interest in Monteverdi revived in the late 18th and early 19th centuries among music scholars in Germany and Italy, although he was still regarded as essentially a historical curiosity. Wider interest in the music itself began in 1881, when Robert Eitner published a shortened version of the Orfeo score. Around this time Kurt Vogel scored the madrigals from the original manuscripts, but more critical interest was shown in the operas, following the discovery of the L'incoronazione manuscript in 1888 and that of Il ritorno in 1904. Largely through the efforts of Vincent d'Indy, all three operas were staged in one form or other, during the first quarter of the 20th century: L'Orfeo in May 1911, L'incoronazione in February 1913 and Il ritorno in May 1925.The Italian nationalist poet Gabriele D'Annunzio lauded Monteverdi and in his novel Il fuoco (1900) wrote of "il divino Claudio ... what a heroic soul, purely Italian in its essence!" His vision of Monteverdi as the true founder of Italian musical lyricism was adopted by musicians who worked with the regime of Benito Mussolini (1922–1945), including Francesco Malipiero, Luigi Dallapiccola, and Mario Labroca, who contrasted Monteverdi with the decadence of the music of Richard Strauss, Claude Debussy and Igor Stravinsky.In the years after the Second World War the operas began to be performed in the major opera houses, and eventually were established in the general repertory. The resuscitation of Monteverdi's sacred music took longer; he did not benefit from the Catholic Church's 19th-century revival of Renaissance music in the way that Palestrina did, perhaps, as Carter suggests, because Monteverdi was viewed chiefly as a secular composer. It was not until 1932 that the 1610 Vespers were published in a modern edition, followed by Redlich's revision two years later. Modern editions of the Selva morales and Missa e Salmi volumes were published respectively in 1940 and 1942.
Solution:
What is the last name of the person who wrote the Orfeo score?