You will be given a definition of a task first, then an example. Follow the example to solve a new instance of the task.
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.

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: Who believes Fagin's gang make wallets and handkerchiefs?.
Why? 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.

New input: Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
Solution:
What are the names of Ravel's two teachers who were key influences on his development as a composer?