input: Seaver and the Mets were stunned on January 20, 1984 when he was claimed in a free-agent compensation draft by the Chicago White Sox. The team (especially GM Frank Cashen) had incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher, and left him off the protected list. Faced with either reporting to the White Sox or retiring, Seaver chose the former. The result for the Mets was an opening in the starting rotation that allowed Dwight Gooden to be part of the team.  Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.  After Seaver's 298th win, a reporter had pointed out to White Sox catcher Carlton Fisk that following his upcoming start in Boston, Seaver's next scheduled start would be in New York, and that the possibility existed that he might achieve the mark there. Fisk emphatically stated that Seaver would win in Boston, and then would win his 300th.  On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium against the Yankees, throwing a complete game 4-1 victory. Don Baylor was the tying run at the plate; he hit a fly ball to left field for the final out of the game. Coincidentally, it was Phil Rizzuto Day - Seaver would later become Rizzuto's broadcast partner for Yankee games. Lindsey Nelson, a Mets radio and TV announcer during Seaver's Mets days, called the final out for Yankees TV flagship WPIX.

Answer this question "How many consecutive strikeouts did he have?"
output: Seaver won two games on May 9, 1984;

Question: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.

In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.

Using a quote from the above article, answer the following question: did he get any awards for his music?
HHHHHH
Answer: