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[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who doubted it would turn out to be a highly explosive eruption like those that can occur in subduction-zone volcanoes?\n\nThe earthquake swarm was noted on October 12, 2007 in the Prince George Citizen by citizen staff, three days after the earthquakes began. Scientists mentioned in the report were seismologist John Cassidy of Natural Resources Canada and volcanologist Catherine Hickson, who was part of the Geological Survey of Canada at the time. At the time of the report, scientists did not know the origin of the swarm. Seismologist John Cassidy stated, \"the depth is enough to rule out hydrothermal but it's up in the air as to whether the cause is tectonic shifts or volcanic activity. If it is volcanic there are certain characteristics that we would expect, there's a tremor-like character to it. And so we'll be looking for the types of events that we see beneath volcanoes and we'll be looking to see if they're getting closer to the surface or if they're migrating at all.\"Even if the Nazko swarm were a warning of a volcanic eruption, Hickson doubted it would turn out to be a highly explosive eruption like those that can occur in subduction-zone volcanoes. \"We're not talking about an injection of tonnes of ash many kilometers into the air like the 1980 Mount St. Helens eruption or the 1991 Mount Pinatubo eruption. We're talking about something very small, relatively localized that should have a fairly limited impact... but it'll be extremely exciting\", Hickson said. If an eruption were to occur, Hickson suggested that it would be characterized by a lava fountain that sends globs of lava 100 m (330 ft) into the air. This is similar to those that occur in Hawaii. Hickson said that a Nazko eruption could be a tourist attraction, but warned that noxious gases such as carbon dioxide and sulfur dioxide would be released during the event.", "role": "user" }, { "content": "Catherine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who is best known as a composer of songs and other vocal music?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose first serious compositions date from around 1915?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who was influenced by Bernard van Dieren?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who gained creative impetus from a year spent in Ireland?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who studied Celtic culture and language?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who returned to England in 1918?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose most prolific period as a composer came in the 1920s?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who edited the music magazine The Sackbut?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who published under his own name?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person whose serious compositions date from around 1915?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who turned to musical journalism after a failed student career in Oxford and London?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person for whom a positive and lasting influence on his work arose from his meeting in 1916 with a Dutch composer?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip Arnold Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person who gained creative impetus from a year spent in Ireland, studying Celtic culture and language?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip Arnold Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who died in his London flat of coal gas poisoning in 1930, probably by his own hand?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the actual person who began composing songs in a distinctive, original style on his return to England in 1918?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who turned to musical journalism, while developing interests in folk-song and Elizabethan music?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person whose first serious compositions date from around 1915?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who made a pioneering contribution to the scholarship of early music?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who died in his London flat of coal gas poisoning in 1930?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who is suspected of suicide?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who attended Eton College?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who gained creative impetus from a year spent in Ireland, studying Celtic culture and language?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person whose critical writings were published under his own name?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Philip Arnold Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote, edited, or otherwise assisted the production of several books and pamphlets?\n\nPhilip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.\nAs a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.\nThrough his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the composer who indicated that the man who moved to Ireland to forestall conscription interest in the occult turned into studies in religious philosophies?\n\nBy April 1917 Heseltine had again tired of London life. He returned to Cornwall where he rented a small cottage near the Lawrences, and made a partial peace with the writer. By the summer of 1917, as Allied fortunes in the war stagnated, Heseltine's military exemption came under review; to forestall a possible conscription, in August 1917 he moved to Ireland, taking Puma, with whom he had decided he was, after all, in love.In Ireland Heseltine combined studies of early music with a fascination for Celtic languages, withdrawing for a two-month period to a remote island where Irish was spoken exclusively. Another preoccupation was an increasing fascination with magical and occult practices, an interest first awakened during his Oxford year and revived in Cornwall. A letter to Robert Nichols indicates that at this time he was \"tamper[ing] ... with the science vulgarly known as Black Magic\". To his former tutor Colin Taylor, Heseltine enthused about books \"full of the most astounding wisdom and illumination\"; these works included Eliphas Levi's History of Transcendental Magic, which includes procedures for the invocation of demons. These diversions did not prevent Heseltine from participating in Dublin's cultural life. He met W.B. Yeats, a fellow-enthusiast for the occult, and briefly considered writing an opera based on the 9th-century Celtic folk-tale of Liadain and Curithir. The composer Denis ApIvor has indicated that Heseltine's obsession with the occult was eventually replaced by his studies in religious philosophies, to which he was drawn through membership of a theosophist group in Dublin. Heseltine's interest in this field had originally been aroused by Kaikhosru Sorabji, the composer who had introduced him to the music of Béla Bartók.On 12 May 1918 Heseltine delivered a well-received illustrated lecture, \"What Music Is\", at Dublin's Abbey Theatre, which included musical excerpts from Bartók, the French composer Paul Ladmirault, and Van Dieren. Heseltine's championing of Van Dieren's music led in August...", "role": "user" }, { "content": "ApIvor", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the composer that aroused religious philosophy interest in the man who was fascinated with Celtic languages?\n\nBy April 1917 Heseltine had again tired of London life. He returned to Cornwall where he rented a small cottage near the Lawrences, and made a partial peace with the writer. By the summer of 1917, as Allied fortunes in the war stagnated, Heseltine's military exemption came under review; to forestall a possible conscription, in August 1917 he moved to Ireland, taking Puma, with whom he had decided he was, after all, in love.In Ireland Heseltine combined studies of early music with a fascination for Celtic languages, withdrawing for a two-month period to a remote island where Irish was spoken exclusively. Another preoccupation was an increasing fascination with magical and occult practices, an interest first awakened during his Oxford year and revived in Cornwall. A letter to Robert Nichols indicates that at this time he was \"tamper[ing] ... with the science vulgarly known as Black Magic\". To his former tutor Colin Taylor, Heseltine enthused about books \"full of the most astounding wisdom and illumination\"; these works included Eliphas Levi's History of Transcendental Magic, which includes procedures for the invocation of demons. These diversions did not prevent Heseltine from participating in Dublin's cultural life. He met W.B. Yeats, a fellow-enthusiast for the occult, and briefly considered writing an opera based on the 9th-century Celtic folk-tale of Liadain and Curithir. The composer Denis ApIvor has indicated that Heseltine's obsession with the occult was eventually replaced by his studies in religious philosophies, to which he was drawn through membership of a theosophist group in Dublin. Heseltine's interest in this field had originally been aroused by Kaikhosru Sorabji, the composer who had introduced him to the music of Béla Bartók.On 12 May 1918 Heseltine delivered a well-received illustrated lecture, \"What Music Is\", at Dublin's Abbey Theatre, which included musical excerpts from Bartók, the French composer Paul Ladmirault, and Van Dieren. Heseltine's championing of Van Dieren's music led in August...", "role": "user" }, { "content": "Sorabji", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person who rarely worked with Heseltine, although they had much in common?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Moeran", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person with whom Heseltine co-wrote the song, \"Maltworms\"?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Moeran", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\"?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Barbara", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Hal", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person who attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person who wrote a general study of Elizabethan music, The English Ayre?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person whose association with the poet and journalist Bruce Blunt led to the popular Christmas anthem \"Bethlehem Down\"?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person whose general lifestyle had created severe financial problems by the summer of 1928?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the name of the person who was forced to give up the cottage at Eynsford, and returned to Cefn Bryntalch?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who had a lot in common with Heseltine?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Moeran", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What are the last names of the people who co-wrote Maltworms?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Barbara", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who was not formally trained but gifted?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Hal", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who was a graphic designer who sometimes assisted Heseltine?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Hal", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What was augmented at various times by the composers William Walton and Constant Lambert?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Eynsford", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person whose entry in The History of Music in England was amended by the actions of Heseltine?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Thomas", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote a general study of Elizabethan music, The English Ayre?\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose association with the poet and journalist Bruce Blunt led to the popular Christmas anthem \"Bethlehem Down?\"\n\nAt Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, \"Maltworms\". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as \"a very quiet, attractive girl, quite different from Phil's usual types\". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the \"Five Bells\" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who transcribed the music of an English composer?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who made a solo version of Bethlehem Down?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Who left with their significant other about 12:15 am?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Van Dieren", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Most commentators have considered suicide to be the more likely cause of whose death?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who had previously threatened to take their life by gas?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose new will was found among the papers in the flat?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who worked in the British Museum?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Whose will had Van Dieren as the sole beneficiary?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Nigel Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose death could not be determined to be accident or suicide?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person who claimed to be someone's illegitimate son?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Brian Sewell", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who found the doors and windows bolted when she returned early on 17 December?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Barbara", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person who worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Philip Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of Nigel Heseltines father, who he theorized had been murdered by Van Dieren?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person whose music was presented in a memorial concert held at Wigmore Hall?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Philip Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person Lionel Jellinek and Peache both recalled had previously threatened to take his life by gas?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Philip", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the verbatim theory presented by Nigel Heseltine that is not considered tenable by most commentators?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "that his father had been murdered by Van Dieren", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the man who had a memorial concert played in February 1931 after his death in December 1930? death in February 1931?\n\nIn September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of \"Bethlehem Down\" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in...", "role": "user" }, { "content": "Heseltine", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: How do the Yamacraw Island inhabitants say the name of Jon Voight's character?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "Conrack", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What record do the children that Conroy teaches play back to him?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "Beethoven's Fifth Symphony", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Whose rule does the teacher break?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "superintendent", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What do the people on the island call the teacher?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "\"Conrack\"", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the real island that the movie portrays as the place where Gullah is spoken?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "Daufuskie Island", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Where does Conroy want to take his students that leads to him losing his job?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "Beaufort", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What school provided some of the cast of the movie?\n\nThe story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated \"Yamacraw Island\" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with \"Conrack\" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world.\nConroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about \"what death would sound like\". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of \"the river.\" As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony.\nThis film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.", "role": "user" }, { "content": "C.B. Greer Elementary", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Who put the rabbit in the bed?\n\nThree sisters, Veronica, Victoria and Elizabeth, receive letters from their late father's lawyer informing them of their father's wish that they spend three nights in his house on an isolated island before his will can be read. They and their husbands William, Richard and Donald are met there by the two maids, Martha and Ruth, and a hunchback named Colin whom the audience has already seen murdering two people at the beginning of the film. While helping with the luggage Colin becomes angry and catches and eats a live rabbit. The remains of the rabbit are later found in Veronica and William's bed, along with a note reading \"Blessed are the meek for they shall inherit\".\nVictoria and Robert find that someone has painted a large 'X' in blood on their bedroom door. Robert and Donald go downstairs to investigate, but Donald collapses after being drugged. Robert investigates the cellar and sees someone he recognizes. Shortly afterward, Victoria finds his body hanging by the ankles on the stairs. The next morning, while discussing what happened, Ruth asks Martha if she had tied up Colin that night.\nColin attempts to tell Victoria something but is interrupted by Martha and sent to chop firewood in the cellar with Donald (who is given a leather strap to use on Colin). Donald finds a plank of wood with a bloody 'X' on it, but is attacked from behind, gagged and bound to a workbench before being disemboweled and cut in two by a hooded figure.\nAt dinner, the guests ask about Donald and Elizabeth's whereabouts. When dinner is served, Elizabeth's severed head is in the serving dish.\nWilliam goes into the cellar to investigate and finds a box and a photograph. Colin steals the photo from him, however, and William is then attacked and killed with a pitchfork by the hooded figure. Later, Martha finds Colin with the photo and realizes what it means, but is killed with a hatchet. Colin tries to escape from the killer, but is set alight.", "role": "user" }, { "content": "Colin", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Who is found hanging on the stairs?\n\nThree sisters, Veronica, Victoria and Elizabeth, receive letters from their late father's lawyer informing them of their father's wish that they spend three nights in his house on an isolated island before his will can be read. They and their husbands William, Richard and Donald are met there by the two maids, Martha and Ruth, and a hunchback named Colin whom the audience has already seen murdering two people at the beginning of the film. While helping with the luggage Colin becomes angry and catches and eats a live rabbit. The remains of the rabbit are later found in Veronica and William's bed, along with a note reading \"Blessed are the meek for they shall inherit\".\nVictoria and Robert find that someone has painted a large 'X' in blood on their bedroom door. Robert and Donald go downstairs to investigate, but Donald collapses after being drugged. Robert investigates the cellar and sees someone he recognizes. Shortly afterward, Victoria finds his body hanging by the ankles on the stairs. The next morning, while discussing what happened, Ruth asks Martha if she had tied up Colin that night.\nColin attempts to tell Victoria something but is interrupted by Martha and sent to chop firewood in the cellar with Donald (who is given a leather strap to use on Colin). Donald finds a plank of wood with a bloody 'X' on it, but is attacked from behind, gagged and bound to a workbench before being disemboweled and cut in two by a hooded figure.\nAt dinner, the guests ask about Donald and Elizabeth's whereabouts. When dinner is served, Elizabeth's severed head is in the serving dish.\nWilliam goes into the cellar to investigate and finds a box and a photograph. Colin steals the photo from him, however, and William is then attacked and killed with a pitchfork by the hooded figure. Later, Martha finds Colin with the photo and realizes what it means, but is killed with a hatchet. Colin tries to escape from the killer, but is set alight.", "role": "user" }, { "content": "Robert", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Whose body is found hanging by the ankles?\n\nThree sisters, Veronica, Victoria and Elizabeth, receive letters from their late father's lawyer informing them of their father's wish that they spend three nights in his house on an isolated island before his will can be read. They and their husbands William, Richard and Donald are met there by the two maids, Martha and Ruth, and a hunchback named Colin whom the audience has already seen murdering two people at the beginning of the film. While helping with the luggage Colin becomes angry and catches and eats a live rabbit. The remains of the rabbit are later found in Veronica and William's bed, along with a note reading \"Blessed are the meek for they shall inherit\".\nVictoria and Robert find that someone has painted a large 'X' in blood on their bedroom door. Robert and Donald go downstairs to investigate, but Donald collapses after being drugged. Robert investigates the cellar and sees someone he recognizes. Shortly afterward, Victoria finds his body hanging by the ankles on the stairs. The next morning, while discussing what happened, Ruth asks Martha if she had tied up Colin that night.\nColin attempts to tell Victoria something but is interrupted by Martha and sent to chop firewood in the cellar with Donald (who is given a leather strap to use on Colin). Donald finds a plank of wood with a bloody 'X' on it, but is attacked from behind, gagged and bound to a workbench before being disemboweled and cut in two by a hooded figure.\nAt dinner, the guests ask about Donald and Elizabeth's whereabouts. When dinner is served, Elizabeth's severed head is in the serving dish.\nWilliam goes into the cellar to investigate and finds a box and a photograph. Colin steals the photo from him, however, and William is then attacked and killed with a pitchfork by the hooded figure. Later, Martha finds Colin with the photo and realizes what it means, but is killed with a hatchet. Colin tries to escape from the killer, but is set alight.", "role": "user" }, { "content": "Robert", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the first name of the person who was benched for 2 weeks?\n\nIn 1919, the Chicago White Sox are considered one of the greatest baseball teams ever assembled; however, the team's stingy owner, Charles Comiskey, gives little inclination to reward his players for a spectacular season.\nGamblers \"Sleepy\" Bill Burns and Billy Maharg get wind of the players' discontent, asking shady player Chick Gandil to convince a select group of Sox—including star knuckleball pitcher Eddie Cicotte, who led the majors with a 29–7 win–loss record and an earned run average of 1.82—that they could earn more money by playing badly and throwing the series than they could earn by winning the World Series against the Cincinnati Reds . Cicotte was motivated because Comiskey refused him a promised $10,000 should he win 30 games for the season. Cicotte was nearing the milestone until Comiskey ordered team manager Kid Gleason to bench him for 2 weeks (missing 5 starts) with the excuse that the 35-year-old veteran's arm needed a rest before the series.\nA number of players, including Gandil, Swede Risberg, and Lefty Williams, go along with the scheme. Shoeless Joe Jackson, an illiterate and the team hitting star is also invited, but is depicted as being not bright and not entirely sure of what is going on. Buck Weaver, meanwhile, insists that he is a winner and wants nothing to do with the fix.", "role": "user" }, { "content": "Eddie", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: Who's sister protects a boy from him?\n\nThe film opens with a group of scientists searching the New Mexico desert, who are killed by a mutant named Pluto.\nLater, Bob Carter and his wife, Ethel are traveling from Cleveland, Ohio to San Diego, California for their silver wedding anniversary. With them are their children Bobby, Brenda, and Lynn, Lynn's husband Doug, Lynn and Doug's baby daughter Catherine, and their two German Shepherds, Beauty and Beast. At a gas station in the desert, they meet an attendant named Jeb, who tells them of a short-cut through the hills. \nNot long after taking the supposed short-cut, their tires are punctured by a hidden spike strip. Doug and Bob go look for help, while the rest of the family stays behind. Beauty escapes from the trailer and, when Bobby chases her into the hills, he finds her mutilated body cut open. Frightened, he runs and falls, knocking himself unconscious. A young female mutant named Ruby finds him and protects him from her brother Goggle.\nAs Doug heads towards the interstate, he finds a huge crater filled with numerous abandoned cars and other items. Meanwhile, Bob arrives back at the gas station, which appears to be open yet isolated. Inside, he finds news clippings detailing various disappearances that have occurred in the area and realizes the attendant purposefully led them to danger by suggesting they take the short-cut. He also finds a severed ear and flees from the station. Outside, he finds a hysterical Jeb, who commits suicide in front of him. Bob then attempts to flee in an abandoned car, but is attacked by the mutant leader, Papa Jupiter, and dragged into the mining caves by Jupiter, Jupiter's eldest son Lizard, and Pluto.", "role": "user" }, { "content": "Goggle", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the full name of the person that had their remains found four days after they had died?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Harry Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who researched Mount St. Helens before and after its 1980 eruption?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who was very distraught about the death of fellow volcanologist David A. Johnston?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose remains were found four days after his death?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who was cremated in accordance with his parents' request?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who was regarded as eccentric?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote several major publications on volcanic debris avalanches?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote his doctoral dissertation based on his research at St. Helens?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote \"Rockslide-debris Avalanche of May 18, 19080, Mount St. Helens Volcano, Washington\", which initiated widespread interested in the phenomenon?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose remains were found four days after a pyroclastic flow?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who researched Mount St. Helens in the United States before and after its 1980 eruption?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose parents requested his remains were cremated?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person who wrote several major publications on the topic of volcanic debris avalanches?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose doctoral dissertation was titled \"Rockslide-debris Avalanche of May 18, 1980, Mount St. Helens Volcano, Washington\"?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]

[ { "content": "Read the following paragraph and extract the answer for the question: What is the last name of the person whose research at St. Helens formed the basis for his doctoral dissertation?\n\nHarry 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.\nDespite 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.", "role": "user" }, { "content": "Glicken", "role": "assistant" } ]