input: The agents of the Catholic Church wrote detailed accounts of the Maya, in support of their efforts at evangelization, and absorption of the Maya into the Spanish Empire. This was followed by various Spanish priests and colonial officials who left descriptions of ruins they visited in Yucatan and Central America. In 1839, American traveller and writer John Lloyd Stephens set out to visit a number of Maya sites with English architect and draftsman Frederick Catherwood. Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world. The later 19th century saw the recording and recovery of ethnohistoric accounts of the Maya, and the first steps in deciphering Maya hieroglyphs.  The final two decades of the 19th century saw the birth of modern scientific archaeology in the Maya region, with the meticulous work of Alfred Maudslay and Teoberto Maler. By the early 20th century, the Peabody Museum was sponsoring excavations at Copan and in the Yucatan Peninsula. In the first two decades of the 20th century, advances were made in deciphering the Maya calendar, and identifying deities, dates, and religious concepts. Since the 1930s, archaeological exploration increased dramatically, with large-scale excavations across the Maya region.  In the 1960s, the distinguished Mayanist J. Eric S. Thompson promoted the ideas that Maya cities were essentially vacant ceremonial centres serving a dispersed population in the forest, and that the Maya civilization was governed by peaceful astronomer-priests. These ideas began to collapse with major advances in the decipherment of the script in the late 20th century, pioneered by Heinrich Berlin, Tatiana Proskouriakoff, and Yuri Knorozov. With breakthroughs in understanding of Maya script since the 1950s, the texts revealed the warlike activities of the Classic Maya kings, and the view of the Maya as peaceful could no longer be supported.

Answer this question "Was there anything bad that caused the investigation as well?"
output: Their illustrated accounts of the ruins sparked strong popular interest, and brought the Maya to the attention of the world.

input: In France, the conception of citizenship teeters between universalism and multiculturalism, especially in recent years. French citizenship has been defined for a long time by three factors: integration, individual adherence, and the primacy of the soil (jus soli). Political integration (which includes but is not limited to racial integration) is based on voluntary policies which aims at creating a common identity, and the interiorization by each individual of a common cultural and historic legacy. Since in France, the state preceded the nation, voluntary policies have taken an important place in the creation of this common cultural identity.  On the other hand, the interiorization of a common legacy is a slow process, which B. Villalba compares to acculturation. According to him, "integration is therefore the result of a double will: the nation's will to create a common culture for all members of the nation, and the communities' will living in the nation to recognize the legitimacy of this common culture". Villalba warns against confusing recent processes of integration (related to the so-called "second generation immigrants", who are subject to discrimination), with older processes which have made modern France. Villalba thus shows that any democratic nation characterize itself by its project of transcending all forms of particular memberships (whether biological - or seen as such, ethnic, historic, economic, social, religious or cultural). The citizen thus emancipates himself from the particularisms of identity which characterize himself to attain a more "universal" dimension. He is a citizen, before being a member of a community or of a social class  Therefore, according to Villalba, "a democratic nation is, by definition, multicultural as it gathers various populations, which differs by their regional origins (Auvergnats, Bretons, Corsicans or Lorrains...), their national origins (immigrant, son or grandson of an immigrant), or religious origins (Catholics, Protestants, Jews, Muslims, Agnostics or Atheists...)."

Answer this question "What cultures are we talking about?"
output: French

input: Partch made public his theories in his book Genesis of a Music (1947). He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach, after which twelve-tone equal temperament was adopted to the exclusion of other tuning systems, and abstract, instrumental music became the norm. Partch sought to bring vocal music back to prominence, and adopted tunings and scales he believed more suitable to singing.  Inspired by Sensations of Tone, Hermann von Helmholtz's book on acoustics and the perception of sound, Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it past the twelfth partial. This allowed for a larger number of smaller, unequal intervals than found in the Western classical music tradition's twelve-tone equal temperament. Partch's tuning is often classed as microtonality, as it allowed for intervals smaller than 100 cents, though Partch did not conceive his tuning in such a context. Instead, he saw it as a return to pre-Classical Western musical roots, in particular to the music of the ancient Greeks. By taking the principles he found in Helmholtz's book, he expanded his tuning system until it allowed for a division of the octave into 43 tones based on ratios of small integers.  Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone. These six-tone chords function in Partch's music much the same that the three-tone major and minor chords (or triads) do in classical music. The Otonalities are derived from the overtone series, and the Utonalities from the undertone series.

Answer this question "what was included in the book?"
output:
He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach,