IN: Bhatt was born on 15 March 1993 in Mumbai to Indian film director Mahesh Bhatt and actress Soni Razdan. Her father is of Gujarati descent and her mother is of Kashmiri and German ancestry. Director Nanabhai Bhatt is her paternal grandfather. She has an elder sister, Shaheen (born 1988) and two half-siblings, Pooja Bhatt and Rahul Bhatt.

In 2016, Bhatt established herself as a leading actress of contemporary Hindi cinema by featuring in three critically and commercially successful films. In her first release of the year, Bhatt played the supporting role of a lively young girl with a buried past in Kapoor & Sons, a drama about a dysfunctional family starring Sidharth Malhotra and Fawad Khan. The film proved to be a critical and commercial success. Bhatt then took on the part of a poverty-stricken Bihari migrant in the Indian state of Punjab in Udta Punjab (2016), a crime drama about substance abuse from the director Abhishek Chaubey. The intense role marked a significant departure from the mostly light-hearted parts she had previously played, and in preparation, she watched documentaries on drug abuse and learned to speak a Bihari dialect. The film, co-starring Shahid Kapoor, Kareena Kapoor, and Diljit Dosanjh, generated controversy when the Central Board of Film Certification deemed that the film represented Punjab in a negative light and demanded extensive censorship before its theatrical release. The Bombay High Court later cleared the film for exhibition with one scene cut. Bhatt's performance in the film was critically acclaimed, with several commentators believing that it was her best performance to that point. Raja Sen of Rediff.com wrote that Bhatt "commits to her accent and deals with the film's most unsavoury section, and is stunning during an incendiary speech that elevates the entire film to a whole other level."  In her final release, Bhatt continued to gain critical praise as she took on the role of an aspiring cinematographer whose life undergoes a series of changes after she consults a free-spirited psychologist (played by Shah Rukh Khan) in the coming-of-age film Dear Zindagi (2016). Writing for IndieWire, Anisha Jhaveri noted that Bhatt provides her character with "a three-dimensionality in which the somewhat annoying nature of millennial angst is balanced with an innocence that's impossible not to recognize". The film proved a box office success as well, earning a total of Rs1.39 billion (US$21 million) worldwide. Udta Punjab and Dear Zindagi earned Bhatt several awards and nominations; for the former, she won the Screen Award and the Filmfare Award for Best Actress, and for the latter, she received an additional Best Actress nomination at Filmfare.  The series of successful films continued with Bhatt's next project--the romantic comedy Badrinath Ki Dulhania (2017)--which reunited her with Khaitan and Dhawan. The film tells the story of an independent young woman (Bhatt) from rural India who refuses to conform to patriarchal expectations from her chauvinistic fiancee (Dhawan). Rachel Saltz of The New York Times took note of the film's statement on gender equality and wrote, "Without ever falling into the cliches of spunky Bollywood heroine, [Bhatt] effortlessly embodies that admirable thing: a modern woman." With over Rs1.95 billion (US$30 million) in box office receipts, Badrinath Ki Dulhania proved to be Bhatt's highest-grossing release. She received another Filmfare nomination for Best Actress. The commercial performance of her recent releases led Bollywood Hungama to credit her as "one of the most successful actresses in the recent history".
QUESTION: what other awards did she receive
IN: Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.

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.
QUESTION:
Who is the other master?