Q: Found the following article online, use it to answer the question: What countries has Yentl lived?  Barbra Streisand portrays Yentl Mendel, a girl living in an Ashkenazi shtetl named Pechev in Poland in 1904. Yentl's father, Rebbe Mendel, secretly instructs her in the Talmud despite the proscription of such study by women according to the custom of her community. After the death of her father, Yentl decides to cut her hair short, dress like a man, take her late brother's name, Anshel, and enter a Jewish religious school in Bychawa. Upon entering the yeshiva, Yentl befriends a fellow student, Avigdor, and meets his fiancée, Hadass. Things get complicated when Hadass's family cancels her wedding to Avigdor over fears that his family is tainted with insanity (his brother committed suicide), and decides that she should marry Anshel instead. Meanwhile, Hadass develops romantic feelings for Yentl, while Yentl herself is falling in love with Avigdor. After much turmoil, Avigdor and Hadass are reunited, while Yentl leaves Europe to go to the United States, where she hopes to lead a life with more freedom.
A: Poland

Q: Found the following article online, use it to answer the question: What is the last name of the person who played the trombone professionally and later became a teacher?  Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed a large number of other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style. There were professional musicians in the previous three generations of Holst's family and it was clear from his early years that he would follow the same calling. He hoped to become a pianist, but was prevented by neuritis in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams. Among other teaching activities he built up a strong tradition of performance at Morley College, where he served as musical director from 1907 until 1924, and pioneered music education for women at St Paul's Girls' School, where he taught from 1905 until his death in 1934. He was the founder of a series of Whitsun music festivals, which ran from 1916 for the remainder of his life. Holst's works were played frequently in the early years of the 20th century, but it was not until the international success of The Planets in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame, and preferred to be left in peace to compose and teach. In his later years his uncompromising, personal style of composition struck many music lovers as too austere, and his brief...
A: Holst

Q: Found the following article online, use it to answer the question: What is the last name of the person whose parents requested his remains were cremated?  Harry Glicken (March 7, 1958 – June 3, 1991) was an American volcanologist. He researched Mount St. Helens in the United States before and after its 1980 eruption, and was very distraught about the death of fellow volcanologist David A. Johnston, who had switched shifts with Glicken so that the latter could attend an interview. In 1991, while conducting avalanche research on Mount Unzen in Japan, Glicken and fellow volcanologists Katia and Maurice Krafft were killed by a pyroclastic flow. His remains were found four days later, and were cremated in accordance with his parents' request. Glicken and Johnston remain the only American volcanologists known to have died in volcanic eruptions. Despite a long-term interest in working for the United States Geological Survey, Glicken never received a permanent post there because employees found him eccentric. Conducting independent research from sponsorships granted by the National Science Foundation and other organizations, Glicken accrued expertise in the field of volcanic debris avalanches. He also wrote several major publications on the topic, including his doctoral dissertation based on his research at St. Helens titled "Rockslide-debris Avalanche of May 18, 1980, Mount St. Helens Volcano, Washington" that initiated widespread interest in the phenomenon. Since being published posthumously by Glicken's colleagues in 1996, the report has been acknowledged by many other publications on debris avalanches. Following his death, Glicken was praised by associates for his love of volcanoes and commitment to his field.
A: Glicken

Q: Found the following article online, use it to answer the question: What are the precise names of the first three symphonies to which Vaughan Williams assigned titles rather than numbers?  The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the...
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