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.

Example input: 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.
Example output: Who believes Fagin's gang make wallets and handkerchiefs?.
Example 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.
Q: Passage: In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".).
A:
What is the collection where Takemitsu's S-E-A motive features prominently?