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In this task, you are given a set of context paragraph and some supporting facts to answer a question. Your task is to generate answer for given question based on set of context paragraphs and supporting facts.

Context_1 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Context_2 : Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor. Context_3 : Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music"). After the 20th century, art music was divided into two extensions: "serious music" and "light music". Context_4 : In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system. Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900. While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution. Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form). Thus, the dates 1650–1900 are necessarily nebulous and arbitrary borders that depend on context. The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis. Context_5 : The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music. The ten-day festival takes place in the Dutch city of Utrecht, and begins in August. The programme comprises concerts, activities, lectures, exhibitions, and a symposium. Context_6 : Assaf Shelleg (Hebrew: אסף שלג‎ ‎ ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem. He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (2011–14), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (2009–11). Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music. Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press. The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music. Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies. "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award. Context_7 : Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes). Context_8 : David Wallis Reeves (February 14, 1838 – March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March". Charles Ives also borrowed from the "Second Connecticut" on four occasions. Context_9 : "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions." Context_10 : Progressive music is music that subverts genre and expands stylistic boundaries outwards. Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African. The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock. fact_1 :  Charles Ives also borrowed from the "Second Connecticut" on four occasions. fact_2 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. fact_3 :  He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Question: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Solution: 1874May
Why? From the fact_1 from context _8, and fact _2 and fact _3 from context _1, we can arrive at 1874 May which is accurate answer of given question.

New input: Context_1 : 1807–1815 - Duchy of Warsaw: puppet state in ally with the First French Empire: various Polish formations fighting within the French army, the Duchy's forces took part in the invasion on the Russian state: Battle of Borodino, Battle of Berezina;1815–1830 - the puppet Polish Kingdom, ruled by tsars (kings of Poland), with some autonomy, especially separate armed forces, which fought in the Polish-Russian War 1830–1831, largely known as the November Uprising; after the war the Kingdom became officially part of the Russian Empire, hence all Polish forces were disbanded.The Polish under the rule of Berlin and Vienna had no military formations of their own until World War I. Context_2 : The Soviet–Japanese War (Russian: Советско-японская война ; Japanese: ソ連対日参戦 , "Soviet Union entry into war against Japan") was a military conflict within the Second World War beginning soon after midnight on August 9, 1945, with the Soviet invasion of the Japanese puppet state of Manchukuo. The Soviets and Mongolians terminated Japanese control of Manchukuo, Mengjiang (Inner Mongolia), northern Korea, Karafuto, and the Chishima Islands. The defeat of Japan's Kwantung Army helped in the Japanese surrender and the termination of World War II. The Soviet entry into the war was a significant factor in the Japanese government's decision to surrender unconditionally, as it made apparent the Soviet Union would no longer be willing to act as a third party in negotiating an end to hostilities on conditional terms. Context_3 : Japanese language education in Vietnam first became widespread during the Empire of Vietnam, which was set up as a puppet state after Japan's 1941 World War II invasion of French Indochina. However, after Japan's 1945 surrender and withdrawal from Vietnam, there was little further education in the language until the 1970s. A 2006 survey showed 1,037 teachers teaching 29,982 students at 110 different institutions, an increase of 66% in the number of students since the previous year's survey. Context_4 : The State of Burma (Burmese: ဗမာ ) was a puppet state of the Empire of Japan, created in 1943 during the Japanese occupation of Burma in World War II. Context_5 : Mengjiang (Mengkiang; ; Hepburn: Mōkyō), also known in English as Mongol Border Land or the Mongol United Autonomous Government, was an autonomous area in Inner Mongolia, existing as a puppet state of the Empire of Japan under nominal Chinese sovereignty. Formed in 1939, it consisted of the then-Chinese provinces of Chahar and Suiyuan, corresponding to the central part of modern Inner Mongolia. It is occasionally called Mengguguo (or Mengkukuo; ) (in analogy to Manchukuo, another Japanese puppet state in Manchuria). The capital was Kalgan, and the ruler was Demchugdongrub. Context_6 : A puppet ruler is a person who has a title indicating possession of political power, but who, in reality, is controlled by outside individuals or forces. Such outside power can be exercised by a foreign government, in which case the puppet ruler's domain is called a puppet state. But the puppet ruler may also be controlled by internal forces, such as non-elected officials. Context_7 : Manchukuo (: "Mǎnzhōuguó"literally: " State of Manchuria" ) was a puppet state in Northeast China and Inner Mongolia, which was governed under a form of constitutional monarchy. The area, collectively known as Manchuria by westerners and Japanese, was designated by China's erstwhile Qing Dynasty as the "homeland" of the ruling family's ethnic group, the Manchus. In 1931, the region was seized by Japan following the Mukden Incident and a pro-Japanese government was installed one year later with Puyi, the last Qing emperor, as the nominal regent and emperor. Manchukuo's government was abolished in 1945 after the defeat of Imperial Japan at the end of World War II. The territories formally claimed by the puppet state were first seized in the Soviet invasion of Manchuria in August 1945, and then formally transferred to Chinese administration in the following year. Context_8 : The Museum of the Imperial Palace of the Manchu State () is a museum in the northeastern corner of Changchun, Jilin province, northeast China. The Palace was the official residence created by the Imperial Japanese Army for China's last emperor Puyi to live in as part of his role as Emperor of the Japanese puppet state of Manchukuo. In the People's Republic of China the structures are generally referred to as the Puppet Emperor's Palace & Exhibition Hall. It is classified as a AAAAA scenic area by the China National Tourism Administration. Context_9 : The Territory of the Military Commander in Serbia (German: "Gebiet des Militärbefehlshabers in Serbien" ) was the area of the Kingdom of Yugoslavia that was placed under a military government of occupation by the Wehrmacht following the invasion, occupation and dismantling of Yugoslavia in April 1941. The territory included only central Serbia, with the addition of the northern part of Kosovo (around Kosovska Mitrovica), and the Banat. This territory was the only area of partitioned Yugoslavia in which the German occupants established a military government. This was due to the key rail and riverine transport routes that passed through it, and its valuable resources, particularly non-ferrous metals. On 22 April 1941, the territory was placed under the supreme authority of the German military commander in Serbia, with the day-to-day administration of the territory under the control of the chief of the military administration staff. The lines of command and control in the occupied territory were never unified, and were made more complex by the appointment of direct representatives of senior Nazi figures such as "Reichsführer-SS" Heinrich Himmler (for police and security matters), "Reichsmarschall" Hermann Göring (for the economy), and "Reichsminister" Joachim von Ribbentrop (for foreign affairs). The Germans used Bulgarian troops to assist in the occupation, but they were at all times under German control. Sources variously describe the territory as a puppet state, a protectorate, a "special administrative province", or describe it as having a puppet government. The military commander in Serbia had very limited German garrison troops and police detachments to maintain order, but could request assistance from a corps of three divisions of poorly-equipped occupation troops. Context_10 : Kunichika Tomiyama (冨山 邦親 , Tomiyama Kunichika , October 31, 1938 – September 25, 1995) , better known by his stage name Kei Tomiyama (富山 敬 , Tomiyama Kei ) , was a Japanese actor, voice actor, and narrator from Anshan, Manchukuo. He was also declared the Mel Blanc of Japanese voice acting. During his life, Tomiyama was affiliated with Aoni Production and Production Baobab. fact_1 : Kunichika Tomiyama (冨山 邦親 , Tomiyama Kunichika , October 31, 1938 – September 25, 1995) , better known by his stage name Kei Tomiyama (富山 敬 , Tomiyama Kei ) , was a Japanese actor, voice actor, and narrator from Anshan, Manchukuo. fact_2 : Manchukuo (: "Mǎnzhōuguó"literally: " State of Manchuria" ) was a puppet state in Northeast China and Inner Mongolia, which was governed under a form of constitutional monarchy. fact_3 :  In 1931, the region was seized by Japan following the Mukden Incident and a pro-Japanese government was installed one year later with Puyi, the last Qing emperor, as the nominal regent and emperor. Question: Kunichika Tomiyama was an actor from a puppet state that was seized by Japan in what year?
Solution:

Show your work and conclude with the exact phrasing "Therefore, the final answer is [answer]." where [answer] is just the final number or expression that solves the problem.
user
1931