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: On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a  concert on 21 October 1944—the first modern use of a countertenor  in Purcell's music. Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano. Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944. Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir. Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera. The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas. Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944. He also began to give regular radio talks on music.In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion. Tippett's compositions in the immediate postwar years included his  First Symphony, performed under Sargent in November 1945, and the String Quartet No. 3, premiered in October 1946 by the Zorian Quartet. His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage. During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948).
[A]: What is the name of the person who boosted the college's Purcell tradition by persuading the countertenor to sing several Purcell odes at a concert on 21 October 1944?


[Q]: Passage: In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.
[A]: What is the name of the crewman who educates the reluctant tank driver?


[Q]: Passage: The first movement corresponds to the opening movement of a symphony, which is often in sonata form. The movement sets the first two verses of the psalm, which call for three actions: "jauchzet" (rejoice), "dienet" (serve), and "kommt" (come). The three topics match two contrasting themes of the exposition of the sonata form, and its development. They are followed by a recapitulation of the two themes.
A timpani roll on C of two measures leads to an orchestral D major chord in the third measure, marked ff (fortissimo), and a syncopated entry of the choir one beat later, pronouncing in unison "Jauchzet, jauchzet" (Rejoice, rejoice), the first topic. The choir first sings a motif a fourth downwards, while the strings add a turn motif (Doppelschlag-Motiv) which gets repeated throughout the piece and finally opens a theme of the double fugue in Part 4. The short motifs are treated to upward sequences, then continued in upward scales in triplets, again in sequences, then another upward line in dotted rhythm, but no melody, rendering only the repeated word "jauchzet" with different expression. Fred Kirshnit, who introduced the piece for a performance of the American Symphony Orchestra, regarded the treatment as an "orchestral explosion". The text is continued in measure 16 by "dem Herrn alle Welt" (to the Lord, [of] the whole world).The following verse begins with "Dienet" (Serve), the second topic. It is quiet, marked sostenuto and pp (pianissimo). It has been compared to the second theme of the sonata form. From the lowest voice to the highest, the material is expanded in imitation, with all voices divided. The phrase "Dienet dem Herrn" is first sung by the alto, and then imitated by the other voices. "Dienet dem Herrn mit Freuden" appears first in the lower voices while the sopranos expand the theme one measure later, marked espressivo and crescendo. Joyful groups of sixteenths appear, first in single voices, then in denser texture, leading to the first topic, "Jauchzet". In measure 111 the third topic appears, "Kommt". This word is repeated many times before the phrase is continued, "vor sein Angesicht" (before his face), later also "mit Frohlocken" (with shouts of joy). In measure 130, a reprise of the first section leads to a close of the movement in a unison "alle Welt", with a fermata on every syllable.
[A]:
What is the specific word repeated many times before the phrase is continued, "vor sein Angesicht"?