Problem: Given the following context:  The first group of people claiming to be an ambassadorial mission of Romans to China was recorded as having arrived in 166 AD by the Book of the Later Han. The embassy came to Emperor Huan of Han China from "Andun" (Chinese: 安敦; Emperor Antoninus Pius or Marcus Aurelius Antoninus), "king of Daqin" (Rome). As Antoninus Pius died in 161 AD, leaving the empire to his adoptive son Marcus Aurelius Antoninus, and the envoy arrived in 166 AD, confusion remains about who sent the mission, as both emperors were named "Antoninus". The Roman mission came from the south (therefore probably by sea), entering China by the frontier of Rinan or Tonkin (present-day Vietnam). It brought presents of rhinoceros horns, ivory, and tortoise shell, probably acquired in Southern Asia. The text states that it was the first time there had been direct contact between the two countries. Yule speculated that the Roman visitors must have lost their original wares due to robbery or shipwreck and used the gifts instead, prompting Chinese sources to suspect them of withholding their more precious valuables, which Yule notes was the same criticism directed at papal missionary John of Montecorvino when he arrived in China in the late 13th century AD. Historians Rafe de Crespigny, Peter Fibiger Bang, and Warwick Ball believe that this was most likely a group of Roman merchants rather than official diplomats sent by Marcus Aurelius. Crespigny stresses that the presence of this Roman embassy as well as others from Tianzhu (in northern India) and Buyeo (in Manchuria) provided much-needed prestige for Emperor Huan, as he was facing serious political troubles and fallout for the forced suicide of politician Liang Ji, who had dominated the Han government well after the death of his sister Empress Liang Na. Yule emphasised that the Roman embassy was said to come by way of Jiaozhi in northern Vietnam, the same route that Chinese sources claimed the embassies from Tianzhu (northern India) had used in 159 and 161 AD.  answer the following question:  What was the name of the person who dominated the Han government well after the death of his sister Empress Liang Na?

A: Liang Ji


Problem: Given the following context:  Temperley writes: "After 1855 [Bennett] was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence." Works from his later years included the cello Sonata Duo for Piatti; a pastoral cantata, The May Queen, Op. 39, for the opening of the Leeds Town Hall in 1858; an Ode (Op. 40) with words by Alfred, Lord Tennyson for the opening of the 1862 International Exhibition in London; an Installation Ode for Cambridge University (Op. 41) with words by Charles Kingsley, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,The Woman of Samaria for the Birmingham Triennial Music Festival of 1867; and finally a second Piano Sonata (The Maid of Orleans, Op. 46). Many of these works were composed during his summer holidays which were spent at Eastbourne. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by Prosper Sainton, between works by Meyerbeer and Daniel Auber also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the University of Cambridge. He modernised the system of awarding music degrees, instituting viva voce examinations and requiring candidates for doctorates to first take the degree of Bachelor of Music. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.In 1858 came yet another clash involving Costa, when the autocratic Earl of Westmorland, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a Mass of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the...  answer the following question:  Works from whose later years include an Installation Ode for Cambridge University?

A: Bennett


Problem: Given the following context:  Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite...  answer the following question:  What is the last name of the person who wrote an autobiography in 1936?

A:
Stravinsky