Background: Karlheinz Stockhausen (German: [kaRl'haInts 'StokhaUzn]; 22 August 1928 - 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. A critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his groundbreaking work in electronic music, for introducing controlled chance (aleatory techniques or aleatoric musical techniques) into serial composition, and for musical spatialization.
Context: On 29 December 1951, in Hamburg, Stockhausen married Doris Andreae (Kurtz 1992, 45; Maconie 2005, 47). Together they had four children: Suja (b. 1953), Christel (b. 1956), Markus (b. 1957), and Majella (b. 1961) (Kurtz 1992, 90; Tannenbaum 1987, 94). They were divorced in 1965 (Rathert 2013). On 3 April 1967, in San Francisco, he married Mary Bauermeister, with whom he had two children: Julika (b. 22 January 1966) and Simon (b. 1967) (Kurtz 1992, 141, 149; Tannenbaum 1987, 95). They were divorced in 1972 (Rathert 2013; Stockhausen-Stiftung & [2013]).  Four of Stockhausen's children became professional musicians (Kurtz 1992, 202), and he composed some of his works specifically for them. A large number of pieces for the trumpet--from Sirius (1975-77) to the trumpet version of In Freundschaft (1997)--were composed for and premiered by his son Markus (Kurtz 1992, 208; M. Stockhausen 1998, 13-16; Tannenbaum 1987, 61). Markus, at the age of 4 years, had performed the part of The Child in the Cologne premiere of Originale, alternating performances with his sister Christel (Maconie 2005, 220). Klavierstuck XII and Klavierstuck XIII (and their versions as scenes from the operas Donnerstag aus Licht and Samstag aus Licht) were written for his daughter Majella, and were first performed by her at the ages of 16 and 20, respectively (Maconie 2005, 430, 443; Stockhausen Texte, 5:190, 255, 274; Stockhausen Texte, 6:64, 373). The saxophone duet in the second act of Donnerstag aus Licht, and a number of synthesizer parts in the Licht operas, including Klavierstuck XV ("Synthi-Fou") from Dienstag, were composed for his son Simon (Kurtz 1992, 222; Maconie 2005, 480, 489; Stockhausen Texte, 5:186, 529), who also assisted his father in the production of the electronic music from Freitag aus Licht. His daughter Christel is a flautist who performed and gave a course on interpretation of Tierkreis in 1977 (Stockhausen Texte, 5:105), later published as an article (C. Stockhausen 1978).  In 1961, Stockhausen acquired a parcel of land in the vicinity of Kurten, a village east of Cologne, near Bergisch Gladbach in the Bergisches Land. He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965 (Kurtz 1992, 116-17, 137-38).
Question: How many children did they have together ?
Answer: Together they had four children:

Problem: Background: Farrow was born in Los Angeles, California, the third child and eldest daughter of Australian film director John Farrow (John Villiers Farrow) and Irish actress Maureen O'Sullivan. Both Farrow's mother and father were from Catholic families. She is one of seven children, with older brothers Michael Damien (1939-1958), Patrick (1942-2009), younger brother John Charles (born 1946); and younger sisters Prudence and actresses Stephanie and Tisa. Her eldest brother, Michael Farrow, died in a plane crash in 1958, at age 19; Patrick, a sculptor, committed suicide in 2009; and John Charles was in 2013 sentenced to 25 years in prison for child molestation, for sexually abusing two boys over a period of eight years.
Context: Farrow screen-tested for the role of Liesl von Trapp in The Sound of Music, but did not get the part. The footage has been preserved, and appears on the fortieth Anniversary Edition DVD of The Sound of Music. Farrow began her acting career by appearing in supporting roles in several 1960s films, making her first credited appearance in Guns at Batasi (1964). The same year, she achieved stardom on the popular primetime soap opera Peyton Place as naive, waif-like Allison MacKenzie. Farrow left the series in 1966 at the urging of Frank Sinatra whom she married on July 19, 1966. Before her acting career, Farrow worked as a fashion model for many years.  Farrow's first leading film role was in Rosemary's Baby (1968), which was a critical and commercial success at the time and continues to be widely regarded as a classic of the horror genre. Her performance garnered numerous awards, including the Golden Globe Award for New Star of the Year - Actress, and established her as a leading actress. Film critic and author Stephen Farber described her performance as having an "electrifying impact... one of the rare instances of actor and character achieving a miraculous, almost mythical match". Film critic Roger Ebert called the film "brilliant", and noted, "A great deal of the credit for this achievement must go to Mia Farrow, as Rosemary".  Following Rosemary's Baby, Farrow was to be cast as Mattie in True Grit and was keen on the role. However, prior to filming she made Secret Ceremony in England with Elizabeth Taylor and Robert Mitchum. While filming, Mitchum told her about True Grit director Henry Hathaway having a reputation for being rude to actresses. Farrow asked producer Hal Wallis to replace Hathaway. Wallis refused; Farrow then quit the role, which was then given to Kim Darby. Secret Ceremony divided critics, but has gone on to develop a devoted following. Farrow's other late 1960s films include John and Mary, opposite Dustin Hoffman.  In the 1970s, Farrow performed in several classical plays in London including Mary Rose, The Three Sisters, and Ivanov. She became the first American actress to join the Royal Shakespeare Company. During this time she appeared in several films, including the thriller See No Evil (1971), French director Claude Chabrol's Docteur Popaul (1972) and The Great Gatsby (1974), in which Farrow played Daisy Buchanan. She appeared in director Robert Altman's cult classic A Wedding (1978). In 1977, she played the title role in The Haunting of Julia. Farrow appeared in several made-for-television films in the 1970s, most notably portraying the title role in a musical version of Peter Pan (1976). In 1979, she appeared on Broadway opposite Anthony Perkins in the play Romantic Comedy by Bernard Slade.
Question: What did she work on after Peyton Place
Answer:
Farrow's first leading film role was in Rosemary's Baby (1968),