Question:
Kurt Friedrich Godel (UK: , US: ; German: ['kUat 'go:dl] ( listen); April 28, 1906 - January 14, 1978) was an Austrian, and later American, logician, mathematician, and philosopher.
At the age of 18, Godel joined his brother in Vienna and entered the University of Vienna. By that time, he had already mastered university-level mathematics. Although initially intending to study theoretical physics, he also attended courses on mathematics and philosophy. During this time, he adopted ideas of mathematical realism. He read Kant's Metaphysische Anfangsgrunde der Naturwissenschaft, and participated in the Vienna Circle with Moritz Schlick, Hans Hahn, and Rudolf Carnap. Godel then studied number theory, but when he took part in a seminar run by Moritz Schlick which studied Bertrand Russell's book Introduction to Mathematical Philosophy, he became interested in mathematical logic. According to Godel, mathematical logic was "a science prior to all others, which contains the ideas and principles underlying all sciences."  Attending a lecture by David Hilbert in Bologna on completeness and consistency of mathematical systems may have set Godel's life course. In 1928, Hilbert and Wilhelm Ackermann published Grundzuge der theoretischen Logik (Principles of Mathematical Logic), an introduction to first-order logic in which the problem of completeness was posed: Are the axioms of a formal system sufficient to derive every statement that is true in all models of the system?  This became the topic that Godel chose for his doctoral work. In 1929, at the age of 23, he completed his doctoral dissertation under Hans Hahn's supervision. In it, he established the completeness of the first-order predicate calculus (Godel's completeness theorem). He was awarded his doctorate in 1930. His thesis, along with some additional work, was published by the Vienna Academy of Science.
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What school did Godel attend when he studied in Vienna?

Answer:
University of Vienna.


Question:
Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs and James preferred operatic arias.
From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.
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did he produce any other music?

Answer:
"Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard.


Question:
Sir Lawrence Alma-Tadema,  (; born Lourens Alma Tadema Dutch pronunciation: ['l^ur@ns 'alma: 'ta:d@,ma:]; 8 January 1836 - 25 June 1912) was a Dutch painter of special British denizenship.
The outbreak of the Franco-Prussian War in July 1870 compelled Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home."  With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist.  He would initially adopt the name Laurence Alma Tadema instead of Lourens Alma Tadema and later adopt the more English Lawrence for his forename, and incorporate Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention.
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Did he paint his family?

Answer:
Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage