Article: Northwestern's School of Communication has been especially fruitful in the number of actors, actresses, playwrights, and film and television writers and directors it has produced. Alumni who have made their mark on film and television include Ann-Margret, Warren Beatty, Jodie Markell, Paul Lynde, David Schwimmer, Anne Dudek, Zach Braff, Zooey Deschanel, Marg Helgenberger, Julia Louis-Dreyfus, Jerry Orbach, Jennifer Jones, Megan Mullally, John Cameron Mitchell, Dermot Mulroney, Charlton Heston, Richard Kind, Ana Gasteyer, Brad Hall, Shelley Long, William Daniels, Cloris Leachman, Bonnie Bartlett, Paula Prentiss, Richard Benjamin, Laura Innes, Charles Busch, Stephanie March, Tony Roberts, Jeri Ryan, Kimberly Williams-Paisley, McLean Stevenson, Tony Randall, Charlotte Rae, Paul Lynde, Patricia Neal, Nancy Dussault, Robert Reed, Mara Brock Akil, Greg Berlanti, Bill Nuss, Dusty Kay, Dan Shor, Seth Meyers, Frank DeCaro, Zach Gilford, Nicole Sullivan, Stephen Colbert, Sandra Seacat and Garry Marshall. Directors who were graduated from Northwestern include Gerald Freedman, Stuart Hagmann, Marshall W. Mason, and Mary Zimmerman. Lee Phillip Bell hosted a talk show in Chicago from 1952 to 1986 and co-created the Daytime Emmy Award-winning soap operas The Young and the Restless in 1973 and The Bold and the Beautiful in 1987. Alumni such as Sheldon Harnick, Stephanie D'Abruzzo, Heather Headley, Kristen Schaal, Lily Rabe, and Walter Kerr have distinguished themselves on Broadway, as has designer Bob Mackie. Amsterdam-based comedy theater Boom Chicago was founded by Northwestern alumni, and the school has become a training ground for future The Second City, I.O., ComedySportz, Mad TV and Saturday Night Live talent. Tam Spiva wrote scripts for The Brady Bunch and Gentle Ben. In New York, Los Angeles, and Chicago, the number of Northwestern alumni involved in theater, film, and television is so large that a perception has formed that there's such a thing as a "Northwestern mafia."

Question: Where did director Gerald Freedman attend school?
Ans: Northwestern's School of Communication


Article: Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

Question: Pitch perception  has inherent octave what?
Ans: ambiguities


Article: Directly underneath the State Apartments is a suite of slightly less grand rooms known as the semi-state apartments. Opening from the Marble Hall, these rooms are used for less formal entertaining, such as luncheon parties and private audiences. Some of the rooms are named and decorated for particular visitors, such as the 1844 Room, decorated in that year for the State visit of Tsar Nicholas I of Russia, and, on the other side of the Bow Room, the 1855 Room, in honour of the visit of Emperor Napoleon III of France. At the centre of this suite is the Bow Room, through which thousands of guests pass annually to the Queen's Garden Parties in the Gardens. The Queen and Prince Philip use a smaller suite of rooms in the north wing.

Question: Where are the suites located that the Queen and Prince Phillip use?
Ans: the north wing


Article: Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.

Question: Who wrote that "improvisation is designed for an audience"?
Ans:
Nicholas Temperley