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56f74b3caef2371900625ac1 | Classical_music | The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle. | Increased attention to extended melodic lines characterized what era? | {
"text": [
"Romantic"
],
"answer_start": [
17
]
} |
56f74b3caef2371900625ac2 | Classical_music | The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle. | When did the Romantic era end? | {
"text": [
"the early 20th century"
],
"answer_start": [
84
]
} |
56f74b3caef2371900625ac3 | Classical_music | The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle. | Free-form pieces like nocturnes and preludes were a break from what era? | {
"text": [
"Classical"
],
"answer_start": [
306
]
} |
56f74b3caef2371900625ac4 | Classical_music | The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle. | Tensions about what increased during the Romantic era? | {
"text": [
"key signatures"
],
"answer_start": [
672
]
} |
56f74b3caef2371900625ac5 | Classical_music | The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle. | What is a name for an art song? | {
"text": [
"Lied"
],
"answer_start": [
716
]
} |
56f74bfcaef2371900625acb | Classical_music | In the 19th century, melodious institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles. | Who controlled musical institutions before the 19th century? | {
"text": [
"wealthy patrons"
],
"answer_start": [
70
]
} |
56f74bfcaef2371900625acc | Classical_music | In the 19th century, melodious institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles. | Composers and musicians began to construct lives independent of what in the 19th century? | {
"text": [
"the nobility"
],
"answer_start": [
151
]
} |
56f74bfcaef2371900625acd | Classical_music | In the 19th century, melodious institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles. | What class increased it's interest in music during the 19th century? | {
"text": [
"middle classes"
],
"answer_start": [
209
]
} |
56f74bfcaef2371900625ace | Classical_music | In the 19th century, melodious institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles. | What instrument became widely popular in the middle class in the 19th century? | {
"text": [
"The piano"
],
"answer_start": [
346
]
} |
56f74bfcaef2371900625acf | Classical_music | In the 19th century, melodious institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles. | The 19th century marks the foundation of many what? | {
"text": [
"symphony orchestras"
],
"answer_start": [
584
]
} |
56f74dc0a6d7ea1400e1717c | Classical_music | The family of instruments used, especially in orchestras, grew. A wide array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wide range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400. | To what number did the size of the orchestra grow to? | {
"text": [
"100"
],
"answer_start": [
341
]
} |
56f74dc0a6d7ea1400e1717d | Classical_music | The family of instruments used, especially in orchestras, grew. A wide array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wide range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400. | What size of choirs have performed Gustav Mahler's 1906 Symphony No. 8? | {
"text": [
"over 400"
],
"answer_start": [
460
]
} |
56f74dc0a6d7ea1400e1717e | Classical_music | The family of instruments used, especially in orchestras, grew. A wide array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wide range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400. | What size orchestras have performed Gustav Mahler's 1906 Symphony No. 8? | {
"text": [
"over 150"
],
"answer_start": [
420
]
} |
56f74dc0a6d7ea1400e1717f | Classical_music | The family of instruments used, especially in orchestras, grew. A wide array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wide range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400. | What allowed Brass instruments to play a wider range of notes? | {
"text": [
"rotary valves"
],
"answer_start": [
184
]
} |
56f74dc0a6d7ea1400e17180 | Classical_music | The family of instruments used, especially in orchestras, grew. A wide array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wide range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400. | What array of instrument grew wider? | {
"text": [
"percussion"
],
"answer_start": [
81
]
} |
56f74e42aef2371900625ae9 | Classical_music | European cultural ideas and institutions began to postdate colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions. | What did European cultural ideas follow? | {
"text": [
"colonial expansion"
],
"answer_start": [
57
]
} |
56f74e42aef2371900625aea | Classical_music | European cultural ideas and institutions began to postdate colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions. | What type of music rose toward the end of the era? | {
"text": [
"nationalism"
],
"answer_start": [
171
]
} |
56f74e42aef2371900625aeb | Classical_music | European cultural ideas and institutions began to postdate colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions. | What did nationalism in music sometime echo? | {
"text": [
"political sentiments of the time"
],
"answer_start": [
217
]
} |
56f74e42aef2371900625aec | Classical_music | European cultural ideas and institutions began to postdate colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions. | Edvard Grieg and Antonin Dvorak used what kind of music in their compositions? | {
"text": [
"traditional music of their homelands"
],
"answer_start": [
338
]
} |
56f74f1ba6d7ea1400e17186 | Classical_music | Encompassing a broad variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century. | What style does 20th century classical music encompass? | {
"text": [
"post-Romantic"
],
"answer_start": [
31
]
} |
56f74f1ba6d7ea1400e17187 | Classical_music | Encompassing a broad variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century. | When did modernism take place? | {
"text": [
"1890–1930"
],
"answer_start": [
207
]
} |
56f74f1ba6d7ea1400e17188 | Classical_music | Encompassing a broad variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century. | Composers rejected the traditions of the common practice period during what era? | {
"text": [
"Modernism"
],
"answer_start": [
196
]
} |
56f74f1ba6d7ea1400e17189 | Classical_music | Encompassing a broad variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century. | Neo-classical music emerged during what era? | {
"text": [
"high-modern era"
],
"answer_start": [
381
]
} |
56f74f1ba6d7ea1400e1718a | Classical_music | Encompassing a broad variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century. | Postmodern music is also know as what? | {
"text": [
"contemporary music"
],
"answer_start": [
610
]
} |
56f74ffbaef2371900625af1 | Classical_music | Almost all of the composers who are described in music textbooks on classic music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classic music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann [sic] is one of the only [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." | What gender are most composers described in music textbooks? | {
"text": [
"male"
],
"answer_start": [
168
]
} |
56f74ffbaef2371900625af2 | Classical_music | Almost all of the composers who are described in music textbooks on classic music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classic music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann [sic] is one of the only [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." | Who asked why is music composed by women so marginal to the standard 'classical' repertoire? | {
"text": [
"Musicologist Marcia Citron"
],
"answer_start": [
284
]
} |
56f74ffbaef2371900625af3 | Classical_music | Almost all of the composers who are described in music textbooks on classic music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classic music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann [sic] is one of the only [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." | Why were women composers deemed not notable? | {
"text": [
"did not write many symphonies"
],
"answer_start": [
845
]
} |
56f74ffbaef2371900625af4 | Classical_music | Almost all of the composers who are described in music textbooks on classic music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classic music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann [sic] is one of the only [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." | Who is one of the only female composers mentioned? | {
"text": [
"Clara Shumann"
],
"answer_start": [
969
]
} |
56f74ffbaef2371900625af5 | Classical_music | Almost all of the composers who are described in music textbooks on classic music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classic music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann [sic] is one of the only [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." | What type of music did women composers typically write? | {
"text": [
"art songs"
],
"answer_start": [
620
]
} |
56f75071aef2371900625afb | Classical_music | The modernist views hold that classic music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classic work, a piece of classic music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classic music, since the written music contains the technical instructions for performing the work. | What type of view is that classical music is primarily written musical tradition? | {
"text": [
"modernist"
],
"answer_start": [
4
]
} |
56f75071aef2371900625afc | Classical_music | The modernist views hold that classic music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classic work, a piece of classic music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classic music, since the written music contains the technical instructions for performing the work. | Musical notation is effective for what? | {
"text": [
"transmitting classical music"
],
"answer_start": [
459
]
} |
56f75071aef2371900625afd | Classical_music | The modernist views hold that classic music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classic work, a piece of classic music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classic music, since the written music contains the technical instructions for performing the work. | Why is written musical notation effective? | {
"text": [
"contains the technical instructions for performing the work"
],
"answer_start": [
513
]
} |
56f7515faef2371900625b01 | Classical_music | In 1996–1997, a research study was conducted on a big population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work. | Did student who actively listen to classical music before studying have higher or lower scores? | {
"text": [
"higher"
],
"answer_start": [
242
]
} |
56f7515faef2371900625b02 | Classical_music | In 1996–1997, a research study was conducted on a big population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work. | What happened to the scores of students who listened to rock and roll or country? | {
"text": [
"moderately lower"
],
"answer_start": [
464
]
} |
56f7515faef2371900625b03 | Classical_music | In 1996–1997, a research study was conducted on a big population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work. | Who experience a significant leap in their academic performance? | {
"text": [
"students who used classical during the course of study"
],
"answer_start": [
522
]
} |
56f7515faef2371900625b04 | Classical_music | In 1996–1997, a research study was conducted on a big population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work. | Who conducted the research study? | {
"text": [
"University of Colorado"
],
"answer_start": [
840
]
} |
56f7515faef2371900625b05 | Classical_music | In 1996–1997, a research study was conducted on a big population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work. | What years was the study conducted in? | {
"text": [
"1996–1997"
],
"answer_start": [
3
]
} |
56f7522ea6d7ea1400e171a4 | Classical_music | During the 1990s, several research papers and popular books wrote on what came to exist called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could exist better spent on music education programs." | Which composer had an effect named after him? | {
"text": [
"Mozart"
],
"answer_start": [
97
]
} |
56f7522ea6d7ea1400e171a5 | Classical_music | During the 1990s, several research papers and popular books wrote on what came to exist called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could exist better spent on music education programs." | Who wrote a book on the Mozart effect? | {
"text": [
"Don Campbell"
],
"answer_start": [
270
]
} |
56f7522ea6d7ea1400e171a6 | Classical_music | During the 1990s, several research papers and popular books wrote on what came to exist called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could exist better spent on music education programs." | Where was the experiment originally published? | {
"text": [
"Nature"
],
"answer_start": [
327
]
} |
56f7522ea6d7ea1400e171a7 | Classical_music | During the 1990s, several research papers and popular books wrote on what came to exist called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could exist better spent on music education programs." | How many IQ points of a students' does the Mozart effect temporarily boost? | {
"text": [
"8 to 9 points"
],
"answer_start": [
406
]
} |
56f7522ea6d7ea1400e171a8 | Classical_music | During the 1990s, several research papers and popular books wrote on what came to exist called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could exist better spent on music education programs." | How much did the Governor of Georgia budget per year to provide every child with a CD of classical music? | {
"text": [
"$105,000"
],
"answer_start": [
819
]
} |
56f7529fa6d7ea1400e171ae | Classical_music | Shawn Vancour argues that the commercialization of classic music in the early 20th century served to harm the music industry through inadequate representation. | What harmed the music industry in the 20th century according to Shawn Vancour? | {
"text": [
"the commercialization of classical music"
],
"answer_start": [
26
]
} |
56f7529fa6d7ea1400e171af | Classical_music | Shawn Vancour argues that the commercialization of classic music in the early 20th century served to harm the music industry through inadequate representation. | Who argued that the commercialization of classical music was harmful to the music industry? | {
"text": [
"Shawn Vancour"
],
"answer_start": [
0
]
} |
56f7529fa6d7ea1400e171b0 | Classical_music | Shawn Vancour argues that the commercialization of classic music in the early 20th century served to harm the music industry through inadequate representation. | Why was the commercialization of classical music harmful to the music industry according the Shawn Vancour? | {
"text": [
"inadequate representation."
],
"answer_start": [
135
]
} |
56f75316a6d7ea1400e171b4 | Classical_music | Several works from the Golden Age of Animation matched the action to classic music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?. | Works from the Golden Age of music matches action to what? | {
"text": [
"classical music"
],
"answer_start": [
69
]
} |
56f75316a6d7ea1400e171b5 | Classical_music | Several works from the Golden Age of Animation matched the action to classic music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?. | Who produced Fantasia? | {
"text": [
"Walt Disney"
],
"answer_start": [
107
]
} |
56f75316a6d7ea1400e171b6 | Classical_music | Several works from the Golden Age of Animation matched the action to classic music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?. | Who starred in Johann Mouse? | {
"text": [
"Tom and Jerry"
],
"answer_start": [
131
]
} |
56f75316a6d7ea1400e171b7 | Classical_music | Several works from the Golden Age of Animation matched the action to classic music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?. | Who produced Rabbit of Seville? | {
"text": [
"Warner Bros"
],
"answer_start": [
165
]
} |
56f75316a6d7ea1400e171b8 | Classical_music | Several works from the Golden Age of Animation matched the action to classic music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?. | Who produced What's Opera, Doc? | {
"text": [
"Warner Bros"
],
"answer_start": [
165
]
} |
56f75395aef2371900625b1b | Classical_music | Similarly, movies and television often revert to standard, clichéd snatches of classic music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture. | What does classical music convey in movies and television? | {
"text": [
"refinement or opulence"
],
"answer_start": [
105
]
} |
56f75395aef2371900625b1c | Classical_music | Similarly, movies and television often revert to standard, clichéd snatches of classic music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture. | What piece by Vivaldi is used as a cliche to convey opulence? | {
"text": [
"Four Seasons"
],
"answer_start": [
259
]
} |
56f75395aef2371900625b1d | Classical_music | Similarly, movies and television often revert to standard, clichéd snatches of classic music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture. | What piece by Mozart is used as a cliche to convey refinement? | {
"text": [
"Eine kleine Nachtmusik"
],
"answer_start": [
225
]
} |
56f75395aef2371900625b1e | Classical_music | Similarly, movies and television often revert to standard, clichéd snatches of classic music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture. | Who wrote William Tell Overture? | {
"text": [
"Rossini"
],
"answer_start": [
351
]
} |
56f75395aef2371900625b1f | Classical_music | Similarly, movies and television often revert to standard, clichéd snatches of classic music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture. | Who wrote Night on Bald Mountain? | {
"text": [
"Mussorgsky"
],
"answer_start": [
273
]
} |
56f7558fa6d7ea1400e171ce | Classical_music | The written score, however, does not usually contain expressed instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices. | What does the written score not usually contain explicitly? | {
"text": [
"instructions"
],
"answer_start": [
62
]
} |
56f7558fa6d7ea1400e171cf | Classical_music | The written score, however, does not usually contain expressed instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices. | Interpretations of written score is left to whom? | {
"text": [
"performers"
],
"answer_start": [
265
]
} |
56f7558fa6d7ea1400e171d0 | Classical_music | The written score, however, does not usually contain expressed instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices. | Performers can use their knowledge of what to help interpret a written score? | {
"text": [
"the work's idiom"
],
"answer_start": [
363
]
} |
56f756c6a6d7ea1400e171d4 | Classical_music | Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to keep such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score). | Improvisation is integral before what took a high significance? | {
"text": [
"the score"
],
"answer_start": [
117
]
} |
56f756c6a6d7ea1400e171d5 | Classical_music | Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to keep such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score). | When did oral tradition disappear? | {
"text": [
"the 20th century"
],
"answer_start": [
378
]
} |
56f756c6a6d7ea1400e171d6 | Classical_music | Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to keep such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score). | There is still controversy about how to perform works, even though scores provide what? | {
"text": [
"key elements of the music"
],
"answer_start": [
589
]
} |
56f756c6a6d7ea1400e171d7 | Classical_music | Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to keep such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score). | A score-centric approach strictly emphasizes what? | {
"text": [
"block-rhythms"
],
"answer_start": [
817
]
} |
56f7580ba6d7ea1400e171dc | Classical_music | Improvisation once played an of_import role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an of_import aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. | What once played an important role in classical music? | {
"text": [
"Improvisation"
],
"answer_start": [
0
]
} |
56f7580ba6d7ea1400e171dd | Classical_music | Improvisation once played an of_import role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an of_import aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. | Where can a remnant of improvisation tradition be found? | {
"text": [
"cadenza"
],
"answer_start": [
145
]
} |
56f7580ba6d7ea1400e171de | Classical_music | Improvisation once played an of_import role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an of_import aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. | What can solo performers exhibit during a cadenza? | {
"text": [
"their virtuoso skills on the instrument"
],
"answer_start": [
254
]
} |
56f7580ba6d7ea1400e171df | Classical_music | Improvisation once played an of_import role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an of_import aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. | What type of performances of Baroque ear Operas require improvisation? | {
"text": [
"authentic performances"
],
"answer_start": [
472
]
} |
56f7580ba6d7ea1400e171e0 | Classical_music | Improvisation once played an of_import role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an of_import aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. | An example of improvisation in an opera is Beverly Sills variation of what movement of Handel's Giulio Cesare? | {
"text": [
"Da tempeste il legno infranto"
],
"answer_start": [
855
]
} |
56f758d1aef2371900625b2f | Classical_music | Certain staples of classic music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. | How are staples of classical music often used? | {
"text": [
"commercially"
],
"answer_start": [
50
]
} |
56f758d1aef2371900625b30 | Classical_music | Certain staples of classic music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. | TV commercials using Richard Strauss' Also sprach Zarathustra have now become what? | {
"text": [
"clichéd"
],
"answer_start": [
168
]
} |
56f758d1aef2371900625b31 | Classical_music | Certain staples of classic music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. | What piece is often used in the horror genre? | {
"text": [
"\"O Fortuna\" of Carl Orff's Carmina Burana"
],
"answer_start": [
318
]
} |
56f758d1aef2371900625b32 | Classical_music | Certain staples of classic music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. | Who wrote Ride of the Valkyries? | {
"text": [
"Wagner"
],
"answer_start": [
566
]
} |
56f758d1aef2371900625b33 | Classical_music | Certain staples of classic music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. | Who wrote in the Hall of the Mountain King? | {
"text": [
"Edvard Grieg"
],
"answer_start": [
454
]
} |
56f7596ca6d7ea1400e171f0 | Classical_music | Composers of classic music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins. | Folk musicians are not commonly what? | {
"text": [
"classically trained"
],
"answer_start": [
112
]
} |
56f7596ca6d7ea1400e171f1 | Classical_music | Composers of classic music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins. | What music comes from those commonly trained by oral tradition? | {
"text": [
"folk music"
],
"answer_start": [
52
]
} |
56f7596ca6d7ea1400e171f2 | Classical_music | Composers of classic music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins. | Dovrak has used what type of themes to impart a nationalist flavor? | {
"text": [
"folk"
],
"answer_start": [
221
]
} |
56f7596ca6d7ea1400e171f3 | Classical_music | Composers of classic music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins. | Who used specific themes lifted from folk-music? | {
"text": [
"Bartók"
],
"answer_start": [
297
]
} |
56f75ad1aef2371900625b4d | Classical_music | Its written transmission, along with the veneration bestowed on sure classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers. | How are performers expected to play a work due to written transmission? | {
"text": [
"in a way that realizes in detail the original intentions of the composer"
],
"answer_start": [
149
]
} |
56f75ad1aef2371900625b4e | Classical_music | Its written transmission, along with the veneration bestowed on sure classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers. | When did details that composers put in their scores increase? | {
"text": [
"the 19th century"
],
"answer_start": [
230
]
} |
56f75ad1aef2371900625b4f | Classical_music | Its written transmission, along with the veneration bestowed on sure classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers. | Admiration of performers for new interpretations can be seen when composers feel the performer achieve what? | {
"text": [
"a better realization of the original intent than the composer"
],
"answer_start": [
498
]
} |
56f75ad1aef2371900625b50 | Classical_music | Its written transmission, along with the veneration bestowed on sure classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers. | What do classical performers often achieve? | {
"text": [
"high reputations for their musicianship"
],
"answer_start": [
622
]
} |
56f75c11a6d7ea1400e17202 | Classical_music | The primacy of the composer's written score has also led, today, to a relatively nonaged role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. | When was improvisation in classical music performance common? | {
"text": [
"the Baroque and early romantic eras"
],
"answer_start": [
309
]
} |
56f75c11a6d7ea1400e17203 | Classical_music | The primacy of the composer's written score has also led, today, to a relatively nonaged role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. | When did improvisation begin to lessened strongly? | {
"text": [
"the second half of the 19th and in the 20th centuries"
],
"answer_start": [
375
]
} |
56f75c11a6d7ea1400e17204 | Classical_music | The primacy of the composer's written score has also led, today, to a relatively nonaged role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. | What part did Mozart and Beethoven often improvise? | {
"text": [
"the cadenzas to their piano concertos"
],
"answer_start": [
494
]
} |
56f75c11a6d7ea1400e17205 | Classical_music | The primacy of the composer's written score has also led, today, to a relatively nonaged role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. | What is the name for the practice of singing strictly by the score in opera? | {
"text": [
"come scritto"
],
"answer_start": [
703
]
} |
56f75c11a6d7ea1400e17206 | Classical_music | The primacy of the composer's written score has also led, today, to a relatively nonaged role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. | Who strongly supposed ome scritto? | {
"text": [
"soprano Maria Callas"
],
"answer_start": [
744
]
} |
56f75e42aef2371900625b5d | Classical_music | classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music. | Popular music from the composer's time was incorporation into what? | {
"text": [
"Classical music"
],
"answer_start": [
0
]
} |
56f75e42aef2371900625b5e | Classical_music | classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music. | What did Brahms sometimes use in his Academic Festival Overture? | {
"text": [
"student drinking songs"
],
"answer_start": [
160
]
} |
56f75e42aef2371900625b5f | Classical_music | classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music. | What type of music was Maurice Ravel influenced by? | {
"text": [
"jazz"
],
"answer_start": [
296
]
} |
56f75e42aef2371900625b60 | Classical_music | classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music. | Who wrote The Threepenny Opera? | {
"text": [
"Kurt Weill"
],
"answer_start": [
240
]
} |
56f75e42aef2371900625b61 | Classical_music | classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music. | What type of music do certain composers acknowledge a debt to? | {
"text": [
"popular"
],
"answer_start": [
540
]
} |
56f7607aa6d7ea1400e17220 | Classical_music | Numerous examples show influence in the paired direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads. | Pachelbel's Canon has influenced popular songs since what decade? | {
"text": [
"the 1970s"
],
"answer_start": [
164
]
} |
56f7607aa6d7ea1400e17221 | Classical_music | Numerous examples show influence in the paired direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads. | What phenomenon sees classical musicians achieving success in popular music? | {
"text": [
"the musical crossover phenomenon"
],
"answer_start": [
179
]
} |
56f7607aa6d7ea1400e17222 | Classical_music | Numerous examples show influence in the paired direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads. | Baroque or Classical era influence can be seen in what modern musical style? | {
"text": [
"heavy metal"
],
"answer_start": [
292
]
} |
56f7607aa6d7ea1400e17223 | Classical_music | Numerous examples show influence in the paired direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads. | Ritchie Blackmore and Randy Rhoads play what instrument? | {
"text": [
"electric guitar"
],
"answer_start": [
342
]
} |
56f6e8fb3d8e2e1400e372b4 | Slavs | Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and diachronic backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. | What is the largest Indo-European ethno-linguistic group in Europe? | {
"text": [
"Slavs are the largest Indo-European ethno-linguistic group in Europe."
],
"answer_start": [
0
]
} |
56f6e8fb3d8e2e1400e372b5 | Slavs | Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and diachronic backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. | What areas of the world do Slavs inhabit? | {
"text": [
"They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia."
],
"answer_start": [
70
]
} |
56f6e8fb3d8e2e1400e372b6 | Slavs | Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and diachronic backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. | What was colonised by the East Slavs? | {
"text": [
"The East Slavs colonised Siberia and Central Asia."
],
"answer_start": [
501
]
} |
56f6e8fb3d8e2e1400e372b7 | Slavs | Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and diachronic backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. | What portion of Europe's territory is inhabited by Slavic-speaking communities? | {
"text": [
"Presently over half of Europe's territory is inhabited by Slavic-speaking communities"
],
"answer_start": [
574
]
} |
56f6e8fb3d8e2e1400e372b8 | Slavs | Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and diachronic backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. | Slavic mercenaries settled where? | {
"text": [
"Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria."
],
"answer_start": [
399
]
} |
56f6f4963d8e2e1400e372ea | Slavs | Present-day Slavonic people are classified into West Slavonic (chiefly Poles, Czechs and Slovaks), East Slavonic (chiefly Russians, Belarusians, and Ukrainians), and South Slavonic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavonic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility. | West Slavic people consist of which nationalities? | {
"text": [
"Poles, Czechs and Slovaks"
],
"answer_start": [
67
]
} |
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