Input: Article: The process of desegregation at Washington University began in 1947 with the School of Medicine and the School of Social Work. During the mid and late 1940s, the University was the target of critical editorials in the local African American press, letter-writing campaigns by churches and the local Urban League, and legal briefs by the NAACP intended to strip its tax-exempt status. In spring 1949, a Washington University student group, the Student Committee for the Admission of Negroes (SCAN), began campaigning for full racial integration. In May 1952, the Board of Trustees passed a resolution desegregating the school's undergraduate divisions.

Now answer this question: When did the Board of Trustees pass a resolution to desegregate the Washington University undergraduate division? 

Output: May 1952

Input: Article: Baroque instruments included some instruments from the earlier periods (e.g., the hurdy-gurdy and recorder) and a number of new instruments (e.g, the cello, contrabass and fortepiano). Some instruments from previous eras fell into disuse, such as the shawm and the wooden cornet. The key Baroque instruments for strings included the violin, viol, viola, viola d'amore, cello, contrabass, lute, theorbo (which often played the basso continuo parts), mandolin, cittern, Baroque guitar, harp and hurdy-gurdy. Woodwinds included the Baroque flute, Baroque oboe, rackett, recorder and the bassoon. Brass instruments included the cornett, natural horn, Baroque trumpet, serpent and the trombone. Keyboard instruments included the clavichord, tangent piano, the fortepiano (an early version of the piano), the harpsichord and the pipe organ. Percussion instruments included the timpani, snare drum, tambourine and the castanets.

Now answer this question: What happened to the shawn and the wooden cornet during the Baroque period?

Output: fell into disuse

Input: Article: There were two main techniques in Greco-Roman mosaic: opus vermiculatum used tiny tesserae, typically cubes of 4 millimeters or less, and was produced in workshops in relatively small panels which were transported to the site glued to some temporary support. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting. Often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum, using larger tesserae, which was laid on site. There was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work.

Now answer this question: What were small panel mosaics known as?

Output:
emblemata