input: Arthur matriculated on 9 Jun 1870 and attended Brasenose College, Oxford. His housemaster at Harrow, F. Rendall, had eased the way to his acceptance with the recommendation that he was "a boy of powerful original mind." At Brasenose he chose to read modern history, a new curriculum, which was nearly a disaster, as his main interests were in archaeology and classical studies.  His summertime activities with his brothers and friends were perhaps more important to his subsequent career. Having been given an ample allowance by his father, he went looking for adventure on the continent, deliberately seeking out circumstances that might be considered dangerous by some. In June 1871, he and Lewis visited Hallstatt, where his father had excavated in 1866, adding some of the artifacts to his collection. Arthur had made himself familiar with these.  Subsequently, they went on to Paris and then to Amiens. The Franco-Prussian War had just concluded the month before. Arthur had been told at the French border to remove the dark cape he was wearing so that he would not be shot for a spy. Amiens was occupied by the Prussian army. Arthur found them prosaic and preoccupied with souvenir-hunting. He and Lewis hunted for stone-age artifacts in the gravel quarries, Arthur remarking that he was glad the Prussians were not interested in flint artifacts.  In 1872 he and Norman adventured into Ottoman territory in the Carpathians, already in a state of political tension. They crossed borders illegally at high altitudes, "revolvers at the ready." This was Arthur's first encounter with Turkish people and customs. He bought a complete set of clothes of a wealthy Turkish man, complete with red fez, baggy trousers and embroidered, short-sleeved tunic. His detailed, enthusiastic account was published in Fraser's Magazine for May 1873.  In 1873 he and Balfour tramped over Lapland, Finland, and Sweden. Everywhere he went he took copious anthropological notes and made numerous drawings of the people, places and artifacts. During the Christmas holidays of 1873, Evans cataloged a coin collection being bequeathed to Harrow by John Gardner Wilkinson, the father of British Egyptology, who was too ill to work on it himself. The headmaster had suggested "my old pupil, Arthur John Evans - a remarkably able young man."

Answer this question "Did he dig a lot with his father"
output: 

input: Along with Francois Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century. Both composers made a decisive break with the style of the first generation of harpsichordists, who confined their compositions to the relatively fixed mould of the classical suite. This reached its apogee in the first decade of the 18th century with successive collections of pieces by Louis Marchand, Gaspard Le Roux, Louis-Nicolas Clerambault, Jean-Francois Dandrieu, Elisabeth Jacquet de la Guerre, Charles Dieupart, and Nicolas Siret.  Rameau and Couperin have different styles. They seem not to have known one another (Couperin was one of the official court musicians while Rameau was still an unknown; fame would only come to him after Couperin's death). Rameau published his first book of harpsichord pieces in 1706 while Couperin (who was fifteen years his senior) waited until 1713 before publishing his first "ordres." Rameau's music includes pieces in the pure tradition of the French suite: imitative ("Le rappel des oiseaux," "La poule") and character ("Les tendres plaintes", "L'entretien des Muses") pieces and works of pure virtuosity that resemble Scarlatti ("Les tourbillons," "Les trois mains") as well as pieces that reveal the experiments of a theorist and musical innovator ("L'Enharmonique", "Les Cyclopes"), which had a marked influence on Daquin, Royer, and Jacques Duphly. The suites are grouped in the traditional way, by key.  Rameau's three collections appeared in 1706, 1724 and 1726 or 1727, respectively. After this, he only composed a single piece for the harpsichord: "La Dauphine" (1747). Other works, such as "Les petits marteaux," have been doubtfully attributed to him.  During his semiretirement in the years 1740 to 1744, he wrote the Pieces de clavecin en concert (1741), which some musicologists consider the pinnacle of French Baroque chamber music. Adopting a formula successfully employed by Mondonville a few years earlier, these pieces differ from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany other instruments (the violin, flute or viol) playing the melody but has an equal part in the "concert" with them. Rameau also claimed that the pieces would be equally satisfying as solo harpsichord works--although this statement is far from convincing, since the composer took the trouble to transcribe five of them himself--those where the lack of other instruments would show the least.

Answer this question "Who is the other master?"
output: Along with Francois Couperin,

input: After Luna Sea went on break in 1997, Sugizo started his own solo career and opened the independent label "Cross" to produce other artists, as well as releasing his own records. He points out that the opening of his record label was one of his very important projects at the time, but not anymore. On July 9, his debut single "Lucifer" was released and reached number 8 on the Oricon singles chart. It was followed by his first solo tour "Abstract Day" which lasted until the final performance in August at Akasaka Blitz, where he was joined by DJ Krush, Masami Tsuchiya and members of Japan. Then on September 10 he released his second single, "A Prayer", which reached number 7 on the charts. On November 19, his first solo album Truth? was released, and reached number 12 on the album charts. It was met with mixed reviews, largely because of the unexpected musical style which mixed different genres with electronica beats. A variety of artists participated in the album, from Ryuichi Sakamoto and Mick Karn, to Lou Rhodes and Valerie Etienne. Towards the end of the year, remix editions of his two maxi singles and album were released.  As Luna Sea resumed activities, until the bands disbandement, Sugizo collaborated in the studio with actress Miki Nakatani, and singers Miu Sakamoto and Vivian Hsu among others. On August 11, 1999 a compilation album titled "Grand Cross 1999", which was sponsored by Sugizo's record label "Cross", was released, featuring many musicians with whom he had worked with before and many for the first time.  In 2001, he participated in Ryuichi Sakamoto's N.M.L. ("No More Landmines"), a campaign to promote awareness of the problems of land mines and promote a ban on them, and helped in the making of the album Zero Landmine. He starred in Ken Nikai's movie Soundtrack and composed the music for the film. On November 14, a compilation album inspired by the film, titled Parallel Side of Soundtrack was released, and the following year he released the single "Rest in Peace & Fly Away" featuring Bice on vocals. That same year he produced the music for, as well danced in, Suichoku no Yume, a production by the popular contemporary dance company H. Art Chaos.

Answer this question "Did "A Prayer" rank well on the charts?"
output:
reached number 7 on the charts.