Problem: Given the following context:  The Italian composer Claudio Monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included ten operas, of which three—L'Orfeo (1607), Il ritorno d'Ulisse in patria (1640) and L'incoronazione di Poppea (1643)—have survived with their music and librettos intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists. Opera, as a musical and theatrical genre, began to emerge during the early part of Monteverdi's career, initially as a form of courtly entertainment. With other composers, he played a leading part in its development into the main form of public musical theatre. His first opera, L'Orfeo, written in 1607 for the Mantuan court, which employed him, was a major success. In the years that followed, at Mantua and in his later capacity as maestro di cappella (director of music) at St Mark's Basilica in Venice, Monteverdi continued to write theatrical music in various genres, including operas, dances, and intermedi (short musical interludes inserted into straight plays). Because in Monteverdi's times stage music was rarely thought to have much utility after its initial performance, much of this music vanished shortly after its creation. Most of the available information relating to the seven lost operas has been deduced from contemporary documents, including the many letters that Monteverdi wrote. These papers provide irrefutable evidence that four of these works—L'Arianna, Andromeda, Proserpina rapita and Le nozze d'Enea con Lavinia—were completed and performed in Monteverdi's lifetime, but of their music, only the famous lament from L'Arianna and a trio from Proserpina are known to have survived. The other three lost operas—Le nozze di Tetide, La finta pazza Licori and Armida...  answer the following question:  What is the last name of the person whose first opera was L'Orfeo?

A: Monteverdi


Problem: Given the following context:  Hachijō-daiko (八丈太鼓, trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima. Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one. The first style of Hachijō-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi (下拍子, "lower beat"), provides the underlying beat. The other player, called the uwa-byōshi (上拍子, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijō-daiko is called shin-daiko (新太鼓, "new taiko"), which differs from Kumaoji-daiko in multiple ways.  For instance, while the lead and accompanying roles are still present, shin-daiko...  answer the following question:  What is the full name of the creator of the style that is thought to be the first to descend from the one reported in a journal in 1849?

A: Okuyama Kumaoji


Problem: Given the following context:  Stanford did not employ a full-time professor in religion until 1951 and did not establish a religious studies department until 1973, later than most other universities in the U.S.  Earlier courses in religion were largely offered by the chaplains of Stanford Memorial Church.  David Charles Gardner offered a course in Biblical history and literature beginning in 1907, and by 1910, he was teaching New Testament Greek and Bible classes.  Gardner's successor, D. Elton Trueblood, whose goal was the establishment of a non-denominational graduate school in religious studies at Stanford, taught classes about the philosophy of religion.  In 1941 Trueblood's efforts to expand the study of religion resulted in the creation of a minor in religion, as well as twenty-one courses offered by him and four faculty members.  By 1960, the chaplains of Stanford Memorial Church no longer had to run the program, which had expanded to allow students the option of majoring in the study of religion.  By the mid-1960s, the religious studies program at Stanford was enjoying "enormous success".In the 1960s, the study of religion at Stanford began to focus more on social and ethical issues like race and the Vietnam War.  Leading this focus was Stanford Memorial Church Dean of the Chapel and Professor of Religion B. Davie Napier, who was "a powerful critic of U.S. policy in Vietnam".  Napier, along with Stanford professors Michael Novak and Robert McAfee Brown, who had previously been faculty members of seminaries, were the subject of a Time Magazine article in 1966, describing "the renaissance of faith and learning at Stanford".  Students crowded into the church to hear anti-war speeches by them, as well as by "notables" such as Linus Pauling and William Sloan Coffin.  Harvey credited Napier for making the church a popular meeting place on campus for undergraduates and for turning it into "Christian theater—the introduction of jazz and other types of experimental worship as well as provocative preaching".Stanford University was the first...  answer the following question:  What is the full name of the person who was said to be making the church a popular meeting place on campus for undergraduates?

A:
B. Davie Napier