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.
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Question: Passage: Ravel was not by inclination a teacher, but he gave lessons to a few young musicians he felt could benefit from them. Manuel Rosenthal was one, and records that Ravel was a very demanding teacher when he thought his pupil had talent. Like his own teacher, Fauré, he was concerned that his pupils should find their own individual voices and not be excessively influenced by established masters. He warned Rosenthal that it was impossible to learn from studying Debussy's music: "Only Debussy could have written it and made it sound like only Debussy can sound." When George Gershwin asked him for lessons in the 1920s, Ravel, after serious consideration, refused, on the grounds that they "would probably cause him to write bad Ravel and lose his great gift of melody and spontaneity". The best known composer who studied with Ravel was probably Ralph Vaughan Williams, who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner ... Complexe mais pas compliqué was his motto."Vaughan Williams's recollections throw some light on Ravel's private life, about which the latter's reserved and secretive personality has led to much speculation. Vaughan Williams, Rosenthal and Marguerite Long have all recorded that Ravel frequented brothels. Long attributed this to his self-consciousness about his diminutive stature, and consequent lack of confidence with women. By other accounts, none of them first-hand, Ravel was in love with Misia Edwards, or wanted to marry the violinist Hélène Jourdan-Morhange. Rosenthal records and discounts contemporary speculation that Ravel, a lifelong bachelor, may have been homosexual. Such speculation recurred in a 2000 life of Ravel by Benjamin Ivry; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery.Ravel's first concert outside France was in 1909. As the guest of the Vaughan Williamses, he visited London, where he played for the Société des Concerts Français, gaining favourable reviews and enhancing his growing international reputation.

Answer: What was the name of the person that Fauré taught?


Question: Passage: Chinggay, a jewelry shop manager, is one of the single women in their 30's who feels the pressure to find love. She goes out on dates with men but none of them seem to make the cut. You may blame her high standards but the pain from her previous relationship could also be affecting her judgment on men. Now, her love life is suffering a drought for seven years. Everything changes when suddenly, two men are interested to be with her. Ryan bought an engagement ring from Chinggay only to be rejected by his girlfriend. Chinggay helps Ryan to get back with his girlfriend but they end up losing the ring and becoming good friends. On the other hand, Chinggay's ex-boyfriend Frank is persistent to redeem himself and to prove that he deserves a second chance with Chinggay. Chinggay finds herself torn between two kinds of love. A guy who she still loves, and a guy she now loves. Will she choose one over the other? Or will she realize that the love that she needs won't come from either?.

Answer: Who is the guy that Chinggay now loves?


Question: Passage: Dylan has been described as one of the most influential figures of the 20th century, musically and culturally. He was included in the Time 100: The Most Important People of the Century where he was called "master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation". In 2008, the Pulitzer Prize jury awarded him a special citation for "his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power."
President Barack Obama said of Dylan in 2012, "There is not a bigger giant in the history of American music." For 20 years, academics lobbied the Swedish Academy to give Dylan the Nobel Prize in Literature. He received the award in 2016, making Dylan the first musician to be awarded the Literature Prize. Horace Engdahl, a member of the Nobel Committee, described Dylan's place in literary history:
...a singer worthy of a place beside the Greek bards, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the blues, beside the forgotten masters of brilliant standards.
Rolling Stone has ranked Dylan at number one in its 2015 list of the 100 Greatest Songwriters of All Time, and listed "Like A Rolling Stone" as the "Greatest Song of all Time" in their 2011 list. In 2008, it was estimated that Dylan had sold about 120 million albums worldwide.
Initially modeling his writing style on the songs of Woody Guthrie, the blues of Robert Johnson, and what he termed the "architectural forms" of Hank Williams songs, Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 1960s, infusing it "with the intellectualism of classic literature and poetry". Paul Simon suggested that Dylan's early compositions virtually took over the folk genre: "[Dylan's] early songs were very rich ... with strong melodies. 'Blowin' in the Wind' has a really strong melody. He so enlarged himself through the folk background that he incorporated it for a while. He defined the genre for a while."When Dylan made his move from acoustic folk and blues music to a rock backing, the mix became more complex. For many critics, his greatest achievement was the cultural synthesis exemplified by his mid-1960s trilogy of albums—Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde.  In Mike Marqusee's words:
Between late 1964 and the middle of 1966, Dylan created a body of work that remains unique. Drawing on folk, blues, country, R&B, rock'n'roll, gospel, British beat, symbolist, modernist and Beat poetry, surrealism and Dada, advertising jargon and social commentary, Fellini and Mad magazine, he forged a coherent and original artistic voice and vision. The beauty of these albums retains the power to shock and console.

Answer:
What is the last name of the person who received an award from the Nobel Committee in 2016?