[{"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: By the summer of 1906, Mahler had been director of the Vienna Hofoper for nine years. Throughout this time his practice was to leave Vienna at the close of the Hofoper season for a summer retreat, where he could devote himself to composition. Since 1899 this had been at Maiernigg, near the resort town of Maria W\u00f6rth in Carinthia, southern Austria, where Mahler built a villa overlooking the W\u00f6rthersee. In these restful surroundings Mahler completed his Symphonies No. 4, No. 5, No. 6 and No. 7, his R\u00fcckert songs and his song cycle Kindertotenlieder (\"Songs on the Death of Children\").Until 1901, Mahler's compositions had been heavily influenced by the German folk-poem collection Des Knaben Wunderhorn (\"The Youth's Magic Horn\"), which he had first encountered around 1887. The music of Mahler's many Wunderhorn settings is reflected in his Symphonies No. 2, No. 3 and No. 4, which all employ vocal as well as instrumental forces. From about 1901, however, Mahler's music underwent a change in character as he moved into the middle period of his compositional life. Here, the more austere poems of Friedrich R\u00fcckert replace the Wunderhorn collection as the primary influence; the songs are less folk-related, and no longer infiltrate the symphonies as extensively as before. During this period Symphonies No. 5, No. 6 and No. 7 were written, all as purely instrumental works, portrayed by Mahler scholar Deryck Cooke as \"more stern and forthright ..., more tautly symphonic, with a new granite-like hardness of orchestration\".Mahler arrived at Maiernigg in June 1906 with the draft manuscript of his Seventh Symphony; he intended to spend time revising the orchestration until an idea for a new work should strike. The composer's wife Alma Mahler, in her memoirs, says that for a fortnight Mahler was \"haunted by the spectre of failing inspiration\"; Mahler's recollection, however, is that on the first day of the vacation he was seized by the creative spirit, and plunged immediately into composition of the work that would become his Eighth Symphony.\n", "labels": "What is the first name of the wife of the director of Vienna Hofoper?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-39bce22614784a4c84983e27903f686b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film is set in London on the third or fourth anniversary of a nuclear war which lasted two minutes and twenty-eight seconds, including signing the peace treaty. Three (or possibly four) years after the nuclear holocaust, the survivors wander amidst the debris. Penelope is 17 months pregnant and lives with her lover, Alan, and her parents in a tube train on the (still functioning) Circle line.\nOther survivors include Captain Bules Martin, who holds a \"Defeat of England\" medal, as he was unable to save Buckingham Palace from disintegration during the war. Lord Fortnum is fearful that he will mutate into the \"bed sitting room\" of the title. Mate is a fireguard, except that there is nothing left to burn. Shelter Man is a Regional Seat of Government who survived the war in a fallout shelter and spends his days looking at old films (without a projector) and reminiscing about the time he shot his wife and his mother as they pleaded with him to let them in his shelter. Similarly, the \"National Health Service\" is the name of a male nurse, although overwhelmed by the extent of the war. Finally, there are two policemen (Cook and Moore), who hover overhead in the shell of a Morris Minor Panda car that has been made into a makeshift balloon, and shout \"keep moving\" at any survivors they see to offset the danger of them becoming a target in the unlikely event of another outbreak of hostilities.\nLord Fortnum travels to 29 Cul de Sac Place and actually does become a bed-sitting room. Penelope's mother is provided with a death certificate, after which she turns into a wardrobe. Penelope is forced to marry Martin because of his \"bright future\", despite her love for Alan. Her father is initially selected to become Prime Minister due to \"his inside leg measurements,\" but unfortunately, he mutates into a parrot and is eaten due to the starvation conditions that prevail.\n", "labels": "What becomes of the mother of Alan's lover?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-39e13873d05843c5820c73176e7d755e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film is set in London on the third or fourth anniversary of a nuclear war which lasted two minutes and twenty-eight seconds, including signing the peace treaty. Three (or possibly four) years after the nuclear holocaust, the survivors wander amidst the debris. Penelope is 17 months pregnant and lives with her lover, Alan, and her parents in a tube train on the (still functioning) Circle line.\nOther survivors include Captain Bules Martin, who holds a \"Defeat of England\" medal, as he was unable to save Buckingham Palace from disintegration during the war. Lord Fortnum is fearful that he will mutate into the \"bed sitting room\" of the title. Mate is a fireguard, except that there is nothing left to burn. Shelter Man is a Regional Seat of Government who survived the war in a fallout shelter and spends his days looking at old films (without a projector) and reminiscing about the time he shot his wife and his mother as they pleaded with him to let them in his shelter. Similarly, the \"National Health Service\" is the name of a male nurse, although overwhelmed by the extent of the war. Finally, there are two policemen (Cook and Moore), who hover overhead in the shell of a Morris Minor Panda car that has been made into a makeshift balloon, and shout \"keep moving\" at any survivors they see to offset the danger of them becoming a target in the unlikely event of another outbreak of hostilities.\nLord Fortnum travels to 29 Cul de Sac Place and actually does become a bed-sitting room. Penelope's mother is provided with a death certificate, after which she turns into a wardrobe. Penelope is forced to marry Martin because of his \"bright future\", despite her love for Alan. Her father is initially selected to become Prime Minister due to \"his inside leg measurements,\" but unfortunately, he mutates into a parrot and is eaten due to the starvation conditions that prevail.\n", "labels": "Who must the wardrobe's pregnant daughter marry?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-39e13873d05843c5820c73176e7d755e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In mid-2012, The Wiggles announced that Page, Fatt, and Cook would be retiring from touring with the group; Emma Watkins, the first female member of The Wiggles, replaced Page, Lachlan Gillespie replaced Fatt, and Simon Pryce, who was initially supposed to replace Page in August, replaced Cook.  Anthony Field remained in the group because he found it too difficult to give up and because he still had a passion for educating children.  According to Paul Field, his brother staying in the band \"was a vital decision to placate American, British and Canadian business partners\".  Page, Fatt, and Cook remained involved with the creative and production aspects of the group.  Fatt and Cook had been talking about quitting touring for many years; Cook announced his intention to retire first, citing a desire to spend more time with his family, and then Fatt announced his own retirement shortly thereafter.  Page, who was still struggling with his health issues and had stated that his interest was in working with the group's original line-up, was subsequently asked to extend his stay until the end of the year so he would leave alongside Cook and Fatt, to which he agreed.  Cook reported that the original members were confident that the new group would be accepted by the fans because they passed on their founding concepts of early childhood education to Watkins, Gillespie, and Pryce.  The new members, like Moran, who was not approached to return, were salaried employees.The group, for their farewell tour, visited 8 countries and 141 cities, for a total of almost 250 shows in over 200 days for 640,000 people.  Watkins, Gillespie, and Pryce wore \"In Training\" T-shirts, and debuted the song \"Do the Propeller!\" during these concerts.  The final televised performance of the original band members, along with the new members, was on 22 December 2012, during the annual Carols in the Domain in Sydney. Their final performance, after over 7000 shows over the years, was on 23 December at the Sydney Entertainment Centre.Also by 2012, The Wiggles performed to audiences whose parents attended their shows in their early years, and they were hiring performers who were part of their audience as young children.  The Wiggles began airing a show on Sirius XM satellite radio in late 2012, featuring the original members and their replacements, and stories and games for young listeners.  In December, the group auctioned their famous \"Big Red Car\" (called the \"iconic Volkswagen Beetle Cabriolet\") for charity for almost A$36,000 on the auction site eBay.  The money was donated to the Melbourne-based charity SIDS and Kids.\n", "labels": "What is the full name of Anthony FIeld's bother?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6e019aafe6f145b4a38ef25aa2fea741"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In mid-2012, The Wiggles announced that Page, Fatt, and Cook would be retiring from touring with the group; Emma Watkins, the first female member of The Wiggles, replaced Page, Lachlan Gillespie replaced Fatt, and Simon Pryce, who was initially supposed to replace Page in August, replaced Cook.  Anthony Field remained in the group because he found it too difficult to give up and because he still had a passion for educating children.  According to Paul Field, his brother staying in the band \"was a vital decision to placate American, British and Canadian business partners\".  Page, Fatt, and Cook remained involved with the creative and production aspects of the group.  Fatt and Cook had been talking about quitting touring for many years; Cook announced his intention to retire first, citing a desire to spend more time with his family, and then Fatt announced his own retirement shortly thereafter.  Page, who was still struggling with his health issues and had stated that his interest was in working with the group's original line-up, was subsequently asked to extend his stay until the end of the year so he would leave alongside Cook and Fatt, to which he agreed.  Cook reported that the original members were confident that the new group would be accepted by the fans because they passed on their founding concepts of early childhood education to Watkins, Gillespie, and Pryce.  The new members, like Moran, who was not approached to return, were salaried employees.The group, for their farewell tour, visited 8 countries and 141 cities, for a total of almost 250 shows in over 200 days for 640,000 people.  Watkins, Gillespie, and Pryce wore \"In Training\" T-shirts, and debuted the song \"Do the Propeller!\" during these concerts.  The final televised performance of the original band members, along with the new members, was on 22 December 2012, during the annual Carols in the Domain in Sydney. Their final performance, after over 7000 shows over the years, was on 23 December at the Sydney Entertainment Centre.Also by 2012, The Wiggles performed to audiences whose parents attended their shows in their early years, and they were hiring performers who were part of their audience as young children.  The Wiggles began airing a show on Sirius XM satellite radio in late 2012, featuring the original members and their replacements, and stories and games for young listeners.  In December, the group auctioned their famous \"Big Red Car\" (called the \"iconic Volkswagen Beetle Cabriolet\") for charity for almost A$36,000 on the auction site eBay.  The money was donated to the Melbourne-based charity SIDS and Kids.\n", "labels": "What is the full name of Paul Field's brother?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6e019aafe6f145b4a38ef25aa2fea741"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In mid-2012, The Wiggles announced that Page, Fatt, and Cook would be retiring from touring with the group; Emma Watkins, the first female member of The Wiggles, replaced Page, Lachlan Gillespie replaced Fatt, and Simon Pryce, who was initially supposed to replace Page in August, replaced Cook.  Anthony Field remained in the group because he found it too difficult to give up and because he still had a passion for educating children.  According to Paul Field, his brother staying in the band \"was a vital decision to placate American, British and Canadian business partners\".  Page, Fatt, and Cook remained involved with the creative and production aspects of the group.  Fatt and Cook had been talking about quitting touring for many years; Cook announced his intention to retire first, citing a desire to spend more time with his family, and then Fatt announced his own retirement shortly thereafter.  Page, who was still struggling with his health issues and had stated that his interest was in working with the group's original line-up, was subsequently asked to extend his stay until the end of the year so he would leave alongside Cook and Fatt, to which he agreed.  Cook reported that the original members were confident that the new group would be accepted by the fans because they passed on their founding concepts of early childhood education to Watkins, Gillespie, and Pryce.  The new members, like Moran, who was not approached to return, were salaried employees.The group, for their farewell tour, visited 8 countries and 141 cities, for a total of almost 250 shows in over 200 days for 640,000 people.  Watkins, Gillespie, and Pryce wore \"In Training\" T-shirts, and debuted the song \"Do the Propeller!\" during these concerts.  The final televised performance of the original band members, along with the new members, was on 22 December 2012, during the annual Carols in the Domain in Sydney. Their final performance, after over 7000 shows over the years, was on 23 December at the Sydney Entertainment Centre.Also by 2012, The Wiggles performed to audiences whose parents attended their shows in their early years, and they were hiring performers who were part of their audience as young children.  The Wiggles began airing a show on Sirius XM satellite radio in late 2012, featuring the original members and their replacements, and stories and games for young listeners.  In December, the group auctioned their famous \"Big Red Car\" (called the \"iconic Volkswagen Beetle Cabriolet\") for charity for almost A$36,000 on the auction site eBay.  The money was donated to the Melbourne-based charity SIDS and Kids.\n", "labels": "What date did Page, Fatt, and Cook do their last televised performance together?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6e019aafe6f145b4a38ef25aa2fea741"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In mid-2012, The Wiggles announced that Page, Fatt, and Cook would be retiring from touring with the group; Emma Watkins, the first female member of The Wiggles, replaced Page, Lachlan Gillespie replaced Fatt, and Simon Pryce, who was initially supposed to replace Page in August, replaced Cook.  Anthony Field remained in the group because he found it too difficult to give up and because he still had a passion for educating children.  According to Paul Field, his brother staying in the band \"was a vital decision to placate American, British and Canadian business partners\".  Page, Fatt, and Cook remained involved with the creative and production aspects of the group.  Fatt and Cook had been talking about quitting touring for many years; Cook announced his intention to retire first, citing a desire to spend more time with his family, and then Fatt announced his own retirement shortly thereafter.  Page, who was still struggling with his health issues and had stated that his interest was in working with the group's original line-up, was subsequently asked to extend his stay until the end of the year so he would leave alongside Cook and Fatt, to which he agreed.  Cook reported that the original members were confident that the new group would be accepted by the fans because they passed on their founding concepts of early childhood education to Watkins, Gillespie, and Pryce.  The new members, like Moran, who was not approached to return, were salaried employees.The group, for their farewell tour, visited 8 countries and 141 cities, for a total of almost 250 shows in over 200 days for 640,000 people.  Watkins, Gillespie, and Pryce wore \"In Training\" T-shirts, and debuted the song \"Do the Propeller!\" during these concerts.  The final televised performance of the original band members, along with the new members, was on 22 December 2012, during the annual Carols in the Domain in Sydney. Their final performance, after over 7000 shows over the years, was on 23 December at the Sydney Entertainment Centre.Also by 2012, The Wiggles performed to audiences whose parents attended their shows in their early years, and they were hiring performers who were part of their audience as young children.  The Wiggles began airing a show on Sirius XM satellite radio in late 2012, featuring the original members and their replacements, and stories and games for young listeners.  In December, the group auctioned their famous \"Big Red Car\" (called the \"iconic Volkswagen Beetle Cabriolet\") for charity for almost A$36,000 on the auction site eBay.  The money was donated to the Melbourne-based charity SIDS and Kids.\n", "labels": "In what city did Page, Fatt, and Cook perform their last performance together?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6e019aafe6f145b4a38ef25aa2fea741"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In mid-2012, The Wiggles announced that Page, Fatt, and Cook would be retiring from touring with the group; Emma Watkins, the first female member of The Wiggles, replaced Page, Lachlan Gillespie replaced Fatt, and Simon Pryce, who was initially supposed to replace Page in August, replaced Cook.  Anthony Field remained in the group because he found it too difficult to give up and because he still had a passion for educating children.  According to Paul Field, his brother staying in the band \"was a vital decision to placate American, British and Canadian business partners\".  Page, Fatt, and Cook remained involved with the creative and production aspects of the group.  Fatt and Cook had been talking about quitting touring for many years; Cook announced his intention to retire first, citing a desire to spend more time with his family, and then Fatt announced his own retirement shortly thereafter.  Page, who was still struggling with his health issues and had stated that his interest was in working with the group's original line-up, was subsequently asked to extend his stay until the end of the year so he would leave alongside Cook and Fatt, to which he agreed.  Cook reported that the original members were confident that the new group would be accepted by the fans because they passed on their founding concepts of early childhood education to Watkins, Gillespie, and Pryce.  The new members, like Moran, who was not approached to return, were salaried employees.The group, for their farewell tour, visited 8 countries and 141 cities, for a total of almost 250 shows in over 200 days for 640,000 people.  Watkins, Gillespie, and Pryce wore \"In Training\" T-shirts, and debuted the song \"Do the Propeller!\" during these concerts.  The final televised performance of the original band members, along with the new members, was on 22 December 2012, during the annual Carols in the Domain in Sydney. Their final performance, after over 7000 shows over the years, was on 23 December at the Sydney Entertainment Centre.Also by 2012, The Wiggles performed to audiences whose parents attended their shows in their early years, and they were hiring performers who were part of their audience as young children.  The Wiggles began airing a show on Sirius XM satellite radio in late 2012, featuring the original members and their replacements, and stories and games for young listeners.  In December, the group auctioned their famous \"Big Red Car\" (called the \"iconic Volkswagen Beetle Cabriolet\") for charity for almost A$36,000 on the auction site eBay.  The money was donated to the Melbourne-based charity SIDS and Kids.\n", "labels": "Where did Page, Fatt, and Cook do their last performance together at?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6e019aafe6f145b4a38ef25aa2fea741"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The western end of the Mendip Hills has, since 1972, been designated an Area of Outstanding Natural Beauty (AONB) under the National Parks and Access to the Countryside Act 1949. The Mendip Society, which was formed in 1965, helps to raise awareness of this designation and protect the area. The society now has 700 members and runs a programme of guided walks and educational presentations. The society also has a small grants fund to assist communities with the conservation and enhancement of the landscape and to encourage its enjoyment and celebration.As their landscapes have similar scenic qualities, AONBs may be compared to the national parks of England and Wales. AONBs are created under the same legislation as the national parks, the National Parks and Access to the Countryside Act 1949. In contrast to national parks, which have their own authorities and legal power to prevent unsympathetic development, very few statutory duties are imposed on the local authorities within an AONB. However, further regulation and protection of AONBs was added by the Countryside and Rights of Way Act 2000.In 2009 proposals were being prepared by the Mendip AONB in an attempt to get the Mendips designated as a Geopark, which is defined by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in its UNESCO Geoparks International Network of Geoparks programme as \"A territory encompassing one or more sites of scientific importance, not only for geological reasons but also by virtue of its archaeological, ecological or cultural value.\"The Mendip Hills Partnership, which performs an administrative role, includes the five local authorities that cover the AONB, statutory bodies such as the Countryside Agency and English Nature, together with parish councils and other organisations and groups that have an interest in the conservation and care of the area. The Mendip Hills AONB staff unit of the partnership is based at the Charterhouse Centre in the heart of the AONB. The AONB Unit consists of four staff: a manager, project officer, support officer and part-time planning officer. They are supported by 20 volunteer rangers. In 2005 a proposal was submitted to the Countryside Agency to extend the Area of Outstanding Natural Beauty to Steep Holm and Brean Down in the west and towards Frome in the east.Many of the villages on the Mendips have their own parish councils, which have some responsibility for local issues. Local people also elect councillors to district councils or to unitary authorities. The 198 km2 (76 sq mi) of the AONB are split across four districts: Mendip District Council 87.67 km2 (33.8 sq mi),\nSedgemoor District Council 34.03 km2 (13.1 sq mi),\nBath and North East Somerset Council 36.95 km2 (14.3 sq mi), and\nNorth Somerset Council 39.35 km2 (15.2 sq mi).\n", "labels": "What are the staff roles in the unit that is based at the Charterhouse Centre?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-06c4504e45584b8890b775f90efa5d61"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-K\u00f6then. Bach wrote the work as a  serenata for the celebration of New Year's Day 1719.\nThe libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances.\nLater, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Third Day of Easter 1724, Ein Herz, das seinen Jesum lebend wei\u00df. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music.\nThe cantata, written for a specific occasion, has been performed and recorded rarely, compared with other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred D\u00fcrr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which D\u00fcrr had focused.\n", "labels": "What is the first name of the person who set the words in eight movements consisting of alternating recitatives and arias?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-40876a1b24e144a9b494685dfbfd1b89"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-K\u00f6then. Bach wrote the work as a  serenata for the celebration of New Year's Day 1719.\nThe libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances.\nLater, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Third Day of Easter 1724, Ein Herz, das seinen Jesum lebend wei\u00df. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music.\nThe cantata, written for a specific occasion, has been performed and recorded rarely, compared with other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred D\u00fcrr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which D\u00fcrr had focused.\n", "labels": "What is the first name of the person who made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-40876a1b24e144a9b494685dfbfd1b89"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-K\u00f6then. Bach wrote the work as a  serenata for the celebration of New Year's Day 1719.\nThe libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances.\nLater, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Third Day of Easter 1724, Ein Herz, das seinen Jesum lebend wei\u00df. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music.\nThe cantata, written for a specific occasion, has been performed and recorded rarely, compared with other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred D\u00fcrr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which D\u00fcrr had focused.\n", "labels": "What has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred D\u00fcrr?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-40876a1b24e144a9b494685dfbfd1b89"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-K\u00f6then. Bach wrote the work as a  serenata for the celebration of New Year's Day 1719.\nThe libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances.\nLater, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Third Day of Easter 1724, Ein Herz, das seinen Jesum lebend wei\u00df. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music.\nThe cantata, written for a specific occasion, has been performed and recorded rarely, compared with other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred D\u00fcrr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which D\u00fcrr had focused.\n", "labels": "What is the fist name of the person who wrote the text of Die Zeit, die Tag und Jahre macht?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-40876a1b24e144a9b494685dfbfd1b89"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-K\u00f6then. Bach wrote the work as a  serenata for the celebration of New Year's Day 1719.\nThe libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances.\nLater, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Third Day of Easter 1724, Ein Herz, das seinen Jesum lebend wei\u00df. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music.\nThe cantata, written for a specific occasion, has been performed and recorded rarely, compared with other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred D\u00fcrr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which D\u00fcrr had focused.\n", "labels": "What is the first name of the person who focused on the cantata for an international conference about chronology in Bach's music?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-40876a1b24e144a9b494685dfbfd1b89"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the full name of the person that impressed Rimsky-Korsakov with their early compositional efforts?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the full name of the person that died in 1908?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What was the full name of the person that created a short orchestral piece called Feu d'artifice?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the full name of the person that was at the Feu d'artifice performance in St. Petersburg?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the full name of the person that introduced Mussorgsky's opera Boris Godunov?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What piece did Sergei Diaghilev launch in 1909?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the full name of the person that Sergei Diaghilev asked to helpcreate the ballet Les Sylphides?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the full name of the person that wrote the music for a new ballet, The Firebird?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person whose mentor died in 1908?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person who began his theatrical career in 1907?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person who presented five concerts in Paris?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person who introduced Mussorgsky's opera Boris Godunov?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person who launched the Ballets Russes?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person who approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person whose first impression of a dancer was uncomplimentary?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person whose reward was to write music for a new ballet?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, n\u00e9e Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F\u266f minor (1903\u201304), a Symphony in E\u266d major (1907), which he catalogued as \"Opus 1\", and a short orchestral piece, Feu d'artifice (\"Fireworks\", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer L\u00e9on Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening \"Nocturne\" and the closing \"Valse Brillante\"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909\u201310, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, \"the very essence of a great personality\". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev\u2013Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.\n", "labels": "What is the last name of the person who was observed to be immature and gauche for his age?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f000c1165dcf496faf1028fbd125caa0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1973, Daniel and Lena, a young German couple, become entangled in a Chilean military coup at a time when supporters of deposed President Salvador Allende are getting rounded up by the military under General Augusto Pinochet. When Daniel is abducted by Pinochet's secret police DINA, Lena tries to find and save her boyfriend. She tracks him to a sealed-off organization called \"Colonia Dignidad\", which presents itself as a charitable mission run by a lay preacher, Paul Sch\u00e4fer. Lena joins the organization to rescue her boyfriend, only to learn it is a cult from which no one has ever escaped. She later finds Daniel, who acts disabled to be overlooked. Daniel discovers the organization is also an illegal operations center for DINA. Lena and Daniel attempt to escape from Colonia Dignidad along with Ursel, a pregnant nurse. Ursel is killed and both Lena and Daniel escape to the West German embassy. Staff from the embassy betray them but the lovers exit the country by air, with incriminating photographic evidence against Colonia Dignidad.\n", "labels": "What is the name of the person Lisa wants to rescue?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6d389ae99f4240d189f41be073eb15a5"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1973, Daniel and Lena, a young German couple, become entangled in a Chilean military coup at a time when supporters of deposed President Salvador Allende are getting rounded up by the military under General Augusto Pinochet. When Daniel is abducted by Pinochet's secret police DINA, Lena tries to find and save her boyfriend. She tracks him to a sealed-off organization called \"Colonia Dignidad\", which presents itself as a charitable mission run by a lay preacher, Paul Sch\u00e4fer. Lena joins the organization to rescue her boyfriend, only to learn it is a cult from which no one has ever escaped. She later finds Daniel, who acts disabled to be overlooked. Daniel discovers the organization is also an illegal operations center for DINA. Lena and Daniel attempt to escape from Colonia Dignidad along with Ursel, a pregnant nurse. Ursel is killed and both Lena and Daniel escape to the West German embassy. Staff from the embassy betray them but the lovers exit the country by air, with incriminating photographic evidence against Colonia Dignidad.\n", "labels": "Who finds someone acting disabled to be overlooked?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6d389ae99f4240d189f41be073eb15a5"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger, and together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.\nIn 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as \"a calendar for unlearned men\" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.According to Cockerell, the side of the fa\u00e7ade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.\n", "labels": "What are the names of the missionaries of Britain that the sculptures in the north represent and are identifiable by their attributes??", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-334cfc8e1e0f4ecb8a4a6f2dfc25dbc7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The dignitaries and canons constituted the chapter and had the primary role of aiding the bishop in the governance of the diocese. Often the bishop was the titular head of the chapter only and was excluded from its decision-making processes, the chapter being led by the dean as its superior. As the diocese of Moray based its constitution on that of Lincoln Cathedral, the bishop was allowed to participate within the chapter but only as an ordinary canon. Moray was not unique in this: the bishops of Aberdeen, Brechin, Caithness, Orkney and Ross were also canons in their own chapters. Each morning, the canons held a meeting in the chapterhouse where a chapter from the canonical rulebook of St Benedict was read before the business of the day was discussed.\nBishop Brice's chapter of eight clerics consisted of the dean, precentor, treasurer, chancellor, archdeacon and three ordinary canons. His successor, Bishop Andrew de Moravia, greatly expanded the chapter to cater for the much-enlarged establishment by creating two additional hierarchical posts (succentor and subdean) and added 16 more prebendary canons. In total, 23 prebendaries had been created by the time of Andrew's death, and a further two were added just before the Scottish Reformation. Prebendary churches were at the bestowal of the bishop as the churches either were within the diocesan lands or had been granted to the bishop by a landowner as patronage. In the case of Elgin Cathedral, the de Moravia family, of which Bishop Andrew was a member, is noted as having the patronage of many churches given as prebends.Rural Deans, or deans of Christianity as they were known in the Scottish Church, supervised the priests in the deaneries and implemented the bishop's edicts. There were four deaneries in the Moray diocese\u2014Elgin, Inverness, Strathspey and Strathbogie, and these provided the income not only for the cathedral and chapter but also for other religious houses within and outside the diocese. Many churches were allocated to support designated canons, and a small number were held in common. The bishop received mensal and prebendary income in his separate positions as prelate and canon.The government of the diocese affecting both clergy and laity was vested entirely in the bishop, who appointed officers to the ecclesiastical, criminal and civil courts. The bishop, assisted by his chapter, produced the church laws and regulations for the bishopric and these were enforced at occasional diocesan synods by the bishop or, in his absence, by the dean. Appointed officials adjudicated at consistory courts looking at matters affecting tithes, marriages, divorces, widows, orphans, wills and other related legal matters. In Moray, these courts were held in Elgin and Inverness. By 1452 the Bishop of Moray held all his lands in one regality and had Courts of Regality presided over by Bailiffs and Deputies to ensure the payment of revenues from his estates.\n", "labels": "Whose successor created two additional hierarchical posts and added 16 more prebendary canons?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fce44c089bf54581b9db026258734510"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Stafford continued to record. She duetted with Gordon MacRae on a number of songs. In 1948, their version of \"Say Something Sweet to Your Sweetheart\" sold over a million copies. The following year, they repeated their success with \"My Happiness\", and Stafford and MacRae recorded \"Whispering Hope\" together. Stafford began hosting a weekly program on Radio Luxembourg in 1950; working unpaid, she recorded the voice portions of the shows in Hollywood. At the time, she was hosting Club Fifteen with Bob Crosby for Columbia Broadcasting System (CBS) radio.Weston moved from Capitol to Columbia Records and, in 1950, Stafford followed suit. Content and very comfortable working with him, Stafford had had a clause inserted in her contract with Capitol stating that if Weston left that label, she would automatically be released from her obligations to them. When that happened, Capitol wanted Stafford to record eight more songs before December 15, 1950, and she found herself in the unusual situation of simultaneously working for two competing record companies, an instance that was very rare in an industry where musicians were seen as assets. In 1954, Stafford became the second artist after Bing Crosby to sell 25 million records for Columbia. She was presented with a diamond-studded disc to mark the occasion.In 1950, Stafford began working for Voice of America (VOA), the U.S. government broadcaster transmitting programmes overseas to undermine the influence of communism. She presented a weekly show that aired in Eastern Europe, and Collier's magazine published an article about the program in its April 21, 1951 issue that discussed her worldwide popularity, including in countries behind the Iron Curtain. The article, titled \"Jo Stafford: Her Songs Upset Joe Stalin\", earned her the wrath of the U.S. Communist Daily Worker newspaper, which published a column critical of Stafford and VOA.\n", "labels": "What is the name of the newspaper that was critical of the woman who began hosting a weekly program on Radio Luxembourg in 1950?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a3b9df6d0ab34fb189f06853363e1401"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In November 2008, NIST released its final report on the causes of the collapse of 7 World Trade Center. This followed NIST's August 21, 2008, draft report which included a period for public comments, and was followed in 2012 by a peer-reviewed summary in the Journal of Structural Engineering. In its investigation, NIST utilized ANSYS to model events leading up to collapse initiation and LS-DYNA models to simulate the global response to the initiating events. NIST determined that diesel fuel did not play an important role, nor did the structural damage from the collapse of the Twin Towers or the transfer elements (trusses, girders, and cantilever overhangs). The lack of water to fight the fire was an important factor. The fires burned out of control during the afternoon, causing floor beams near column 79 to expand and push a key girder off its seat, triggering the floors to fail around column 79 on Floors 8 to 14. With a loss of lateral support across nine floors, column 79 buckled \u2013 pulling the east penthouse and nearby columns down with it. With the buckling of these critical columns, the collapse then progressed east-to-west across the core, ultimately overloading the perimeter support, which buckled between Floors 7 and 17, causing the remaining portion of the building above to fall downward as a single unit. The fires, which were fueled by office contents and burned for 7 hours, along with the lack of water, were the key reasons for the collapse. Incidentally, this made the old 7 WTC the only steel skyscraper at the time to have collapsed from fire.When 7 WTC collapsed, debris caused substantial damage and contamination to the Borough of Manhattan Community College's Fiterman Hall building, located adjacent at 30 West Broadway, to the extent that the building was not salvageable. A revised plan called for demolition in 2009 and completion of the new Fiterman Hall in 2012, at a cost of $325 million. The adjacent Verizon Building, an art deco building constructed in 1926, had extensive damage to its east facade from the collapse of 7 World Trade Center, though it was able to be restored at a cost of US$1.4 billion.\n", "labels": "What did a revised plan call for a completion of in 2012?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5e60941c50c748c4ba7c88e5552ac7b8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In November 2008, NIST released its final report on the causes of the collapse of 7 World Trade Center. This followed NIST's August 21, 2008, draft report which included a period for public comments, and was followed in 2012 by a peer-reviewed summary in the Journal of Structural Engineering. In its investigation, NIST utilized ANSYS to model events leading up to collapse initiation and LS-DYNA models to simulate the global response to the initiating events. NIST determined that diesel fuel did not play an important role, nor did the structural damage from the collapse of the Twin Towers or the transfer elements (trusses, girders, and cantilever overhangs). The lack of water to fight the fire was an important factor. The fires burned out of control during the afternoon, causing floor beams near column 79 to expand and push a key girder off its seat, triggering the floors to fail around column 79 on Floors 8 to 14. With a loss of lateral support across nine floors, column 79 buckled \u2013 pulling the east penthouse and nearby columns down with it. With the buckling of these critical columns, the collapse then progressed east-to-west across the core, ultimately overloading the perimeter support, which buckled between Floors 7 and 17, causing the remaining portion of the building above to fall downward as a single unit. The fires, which were fueled by office contents and burned for 7 hours, along with the lack of water, were the key reasons for the collapse. Incidentally, this made the old 7 WTC the only steel skyscraper at the time to have collapsed from fire.When 7 WTC collapsed, debris caused substantial damage and contamination to the Borough of Manhattan Community College's Fiterman Hall building, located adjacent at 30 West Broadway, to the extent that the building was not salvageable. A revised plan called for demolition in 2009 and completion of the new Fiterman Hall in 2012, at a cost of $325 million. The adjacent Verizon Building, an art deco building constructed in 1926, had extensive damage to its east facade from the collapse of 7 World Trade Center, though it was able to be restored at a cost of US$1.4 billion.\n", "labels": "What was the lack of water to fight the fire an important factor for?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5e60941c50c748c4ba7c88e5552ac7b8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Head girl Justine Fielding is escorted out of Fairview High School by the police, as other pupils look on.\nFive days earlier, Justine is reading at the funeral of unpopular, asthmatic student Darren Mullet. She starts to talk about him, when Mullet's equally unpopular friend, Jason Banks (Olly Alexander), stands up in church and angrily calls her a hypocrite because she did not really know him. He is then thrown out by the sadistic P.E. teacher. Later on, Justine is talking to her friend Helena when school heart-throb Alex decides to invite her to a party that his popular friends, Bradley, Tasha, Khalillah, Sophie and Marcus are having. She decides to go.\nAt the party, when Justine arrives, Tasha tells Jez, the DJ, to say something about her appearance. He begins to rap about her in an unflattering manner. When Alex tells him to stop, he is literally thrown out of the party by Bradley. Later, Alex and Justine go to one of the bedrooms and kiss. Meanwhile, Bradley, Tasha, Khalillah, Marcus and Sophie all receive insulting and degrading text messages from Mullet's number. During this, someone puts on a clown costume and grabs a chainsaw, before heading up to Alex and Justine. It turns out to be Bradley, who is pranking them.\nJez goes to the cemetery and urinates on Mullet's grave. He is stabbed with a wooden crucifix by Mullet.\n", "labels": "What is the full name of the person Jason calls a hypocrite?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9cd05acf53d74cb99ab71927bd087274"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Head girl Justine Fielding is escorted out of Fairview High School by the police, as other pupils look on.\nFive days earlier, Justine is reading at the funeral of unpopular, asthmatic student Darren Mullet. She starts to talk about him, when Mullet's equally unpopular friend, Jason Banks (Olly Alexander), stands up in church and angrily calls her a hypocrite because she did not really know him. He is then thrown out by the sadistic P.E. teacher. Later on, Justine is talking to her friend Helena when school heart-throb Alex decides to invite her to a party that his popular friends, Bradley, Tasha, Khalillah, Sophie and Marcus are having. She decides to go.\nAt the party, when Justine arrives, Tasha tells Jez, the DJ, to say something about her appearance. He begins to rap about her in an unflattering manner. When Alex tells him to stop, he is literally thrown out of the party by Bradley. Later, Alex and Justine go to one of the bedrooms and kiss. Meanwhile, Bradley, Tasha, Khalillah, Marcus and Sophie all receive insulting and degrading text messages from Mullet's number. During this, someone puts on a clown costume and grabs a chainsaw, before heading up to Alex and Justine. It turns out to be Bradley, who is pranking them.\nJez goes to the cemetery and urinates on Mullet's grave. He is stabbed with a wooden crucifix by Mullet.\n", "labels": "What is the full name of the person that Jason said Justine did not really know?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9cd05acf53d74cb99ab71927bd087274"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Head girl Justine Fielding is escorted out of Fairview High School by the police, as other pupils look on.\nFive days earlier, Justine is reading at the funeral of unpopular, asthmatic student Darren Mullet. She starts to talk about him, when Mullet's equally unpopular friend, Jason Banks (Olly Alexander), stands up in church and angrily calls her a hypocrite because she did not really know him. He is then thrown out by the sadistic P.E. teacher. Later on, Justine is talking to her friend Helena when school heart-throb Alex decides to invite her to a party that his popular friends, Bradley, Tasha, Khalillah, Sophie and Marcus are having. She decides to go.\nAt the party, when Justine arrives, Tasha tells Jez, the DJ, to say something about her appearance. He begins to rap about her in an unflattering manner. When Alex tells him to stop, he is literally thrown out of the party by Bradley. Later, Alex and Justine go to one of the bedrooms and kiss. Meanwhile, Bradley, Tasha, Khalillah, Marcus and Sophie all receive insulting and degrading text messages from Mullet's number. During this, someone puts on a clown costume and grabs a chainsaw, before heading up to Alex and Justine. It turns out to be Bradley, who is pranking them.\nJez goes to the cemetery and urinates on Mullet's grave. He is stabbed with a wooden crucifix by Mullet.\n", "labels": "What is the full name of the person who stabbed someone with a wooden crucifix?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9cd05acf53d74cb99ab71927bd087274"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Head girl Justine Fielding is escorted out of Fairview High School by the police, as other pupils look on.\nFive days earlier, Justine is reading at the funeral of unpopular, asthmatic student Darren Mullet. She starts to talk about him, when Mullet's equally unpopular friend, Jason Banks (Olly Alexander), stands up in church and angrily calls her a hypocrite because she did not really know him. He is then thrown out by the sadistic P.E. teacher. Later on, Justine is talking to her friend Helena when school heart-throb Alex decides to invite her to a party that his popular friends, Bradley, Tasha, Khalillah, Sophie and Marcus are having. She decides to go.\nAt the party, when Justine arrives, Tasha tells Jez, the DJ, to say something about her appearance. He begins to rap about her in an unflattering manner. When Alex tells him to stop, he is literally thrown out of the party by Bradley. Later, Alex and Justine go to one of the bedrooms and kiss. Meanwhile, Bradley, Tasha, Khalillah, Marcus and Sophie all receive insulting and degrading text messages from Mullet's number. During this, someone puts on a clown costume and grabs a chainsaw, before heading up to Alex and Justine. It turns out to be Bradley, who is pranking them.\nJez goes to the cemetery and urinates on Mullet's grave. He is stabbed with a wooden crucifix by Mullet.\n", "labels": "What is the name of the person who was stabbed with a wooden crucifix?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9cd05acf53d74cb99ab71927bd087274"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In mid-1920s Copenhagen, portrait artist Gerda Wegener asks her husband, popular landscape artist Einar Wegener, to stand in for a female model who is late to come to their flat to pose for a painting she's working on.\nThe act of posing as a female figure unmasks Einar's life-long identification as a woman, who names herself Lili Elbe. This sets off a progression, first tentative and then irreversible, of leaving behind the identity as Einar, which she has struggled to maintain all her life. This takes place as both Lili and Gerda relocate to Paris; Gerda's portraits of Lili in her feminine state attract serious attention from art dealers in a way that her previous portraiture had not. It is there that Gerda tracks down art dealer Hans Axgil, a childhood friend of Lili (whom Lili had kissed when they were young). Hans and Gerda's mutual attraction is a challenge, as Gerda is navigating her changing relationship to Lili; but Hans' long-time friendship with and affection for Lili cause him to be supportive of both Lili and Gerda.\nAs Lili's continued existence presenting as male becomes too much to bear, she starts to seek help from psychologists, but none yields any result, and, in one instance, almost leads her into being committed to an asylum. Eventually, at Hans's recommendation, Lili and Gerda meet Dr. Kurt Warnekros. Dr. Warnekros explains that he has met several people like her, who are physically male but identify as female, and proposes a new, innovative and controversial solution: male to female sex reassignment surgery. This would entail a two-part procedure that involves first removing Lili's external genitalia and then, after a period of recovery, fashioning a vagina. He warns Lili and Gerda that it is a very dangerous operation that has never been attempted before, and Lili would be one of the first to undergo it. Lili immediately agrees and, soon after, travels to Germany to begin the surgery.\n", "labels": "What is the full name of the character who is supportive of Gerda and Lili?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3e1955cac83f4c4680577042ac1b8f4d"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Egypt became a province of the Roman Empire in 30 BC, following the defeat of Marc Antony and Ptolemaic Queen Cleopatra VII by Octavian (later Emperor Augustus) in the Battle of Actium. The Romans relied heavily on grain shipments from Egypt, and the Roman army, under the control of a prefect appointed by the Emperor, quelled rebellions, strictly enforced the collection of heavy taxes, and prevented attacks by bandits, which had become a notorious problem during the period. Alexandria became an increasingly important center on the trade route with the orient, as exotic luxuries were in high demand in Rome.Although the Romans had a more hostile attitude than the Greeks towards the Egyptians, some traditions such as mummification and worship of the traditional gods continued. The art of mummy portraiture flourished, and some Roman emperors had themselves depicted as pharaohs, though not to the extent that the Ptolemies had. The former lived outside Egypt and did not perform the ceremonial functions of Egyptian kingship. Local administration became Roman in style and closed to native Egyptians.From the mid-first century AD, Christianity took root in Egypt and it was originally seen as another cult that could be accepted. However, it was an uncompromising religion that sought to win converts from Egyptian Religion and Greco-Roman religion and threatened popular religious traditions. This led to the persecution of converts to Christianity, culminating in the great purges of Diocletian starting in 303, but eventually Christianity won out. In 391 the Christian Emperor Theodosius introduced legislation that banned pagan rites and closed temples. Alexandria became the scene of great anti-pagan riots with public and private religious imagery destroyed. As a consequence, Egypt's native religious culture was continually in decline. While the native population certainly continued to speak their language, the ability to read hieroglyphic writing slowly disappeared as the role of the Egyptian temple priests and priestesses diminished. The temples themselves were sometimes converted to churches or abandoned to the desert.In the fourth century, as the Roman Empire divided, Egypt found itself in the Eastern Empire with its capital at Constantinople. In the waning years of the Empire, Egypt fell to the Sassanid Persian army (618\u2013628 AD), was recaptured by the Roman Emperor Heraclius (629\u2013639 AD), and then was finally captured by Muslim Rashidun army in 639\u2013641 AD, ending Roman rule.\n", "labels": "Who lived outside Egypt and did not perform the ceremonial functions of Egyptian kingship?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-87b4ad2d53d143e49e1ddb5df645028b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1863, First Lieutenant John J. Dunbar is wounded in battle at St. David's Field in Tennessee. Choosing death in battle over amputation of his leg, he takes a horse and rides up to and along the Confederate lines. Despite numerous pot shots, the Confederates fail to hit him, and while they are distracted, the Union Army successfully attacks the line. Dunbar survives, receives a citation for bravery, and proper medical care. He recovers fully and is awarded Cisco, the horse who carried him, and his choice of posting. Dunbar requests a transfer to the western frontier, so he can see it before it disappears.\nDunbar is transferred to Fort Hays, a large fort presided over by Major Fambrough, an unhinged officer who despises Dunbar's enthusiasm.  He agrees to post him to the furthest outpost they have, Fort Sedgewick, and kills himself shortly afterwards. Dunbar travels with Timmons, a mule wagon provisioner. They arrive to find the fort deserted. Despite the threat of nearby native tribes, Dunbar elects to stay and man the post himself. \nHe begins rebuilding and restocking the fort, and prefers the solitude, recording many of his observations in his diary. Timmons is killed by Pawnee people on the journey back to Ft. Hays. His death, together with that of the major who had sent them there, prevents other soldiers from knowing of Dunbar's assignment, and no other soldiers arrive to reinforce the post.\nDunbar initially encounters his Sioux neighbors when attempts are made to steal his horse and intimidate him. Deciding that being a target is a poor prospect, he decides to seek out the Sioux camp and attempt dialogue. On his way, he comes across Stands With A Fist, the White adopted daughter of the tribe's medicine man Kicking Bird, who is ritually mutilating herself while mourning for her husband. Dunbar brings her back to the Sioux to recover, and some of the tribe begin to respect him.\n", "labels": "Who is the medicine man in the Sioux camp?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-aa44cb6cfe744aee98caa17e4c189e5b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1883 Faur\u00e9 married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. The marriage was affectionate, but Marie became resentful of Faur\u00e9's frequent absences, his dislike of domestic life \u2013 \"horreur du domicile\" \u2013 and his love affairs, while she remained at home. Though Faur\u00e9 valued Marie as a friend and confidante, writing to her often \u2013 sometimes daily \u2013 when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Faur\u00e9 and his wife had two sons. The first, born in 1883, Emmanuel Faur\u00e9-Fremiet (Marie insisted on combining her family name with Faur\u00e9's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Faur\u00e9 was extremely attractive to women; in Duchen's phrase, \"his conquests were legion in the Paris salons.\" After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Faur\u00e9 met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Faur\u00e9's life. He maintained her in a Paris apartment, and she acted openly as his companion.\nAbout this time, or shortly afterwards, Faur\u00e9's liaison with Emma Bardac began; in Duchen's words, \"for the first time, in his late forties, he experienced a fulfilling, passionate relationship which extended over several years\". His principal biographers all agree that this affair inspired a burst of creativity and a new originality in his music, exemplified in the song cycle La bonne chanson. Faur\u00e9 wrote the Dolly Suite for piano duet between 1894 and 1897 and dedicated it to Bardac's daughter H\u00e9l\u00e8ne, known as \"Dolly\". Some people suspected that Faur\u00e9 was Dolly's father, but biographers including Nectoux and Duchen think it unlikely. Faur\u00e9's affair with Emma Bardac is thought to have begun after Dolly was born, though there is no conclusive evidence either way.During the 1890s Faur\u00e9's fortunes improved. When Ernest Guiraud, professor of composition at the Paris Conservatoire, died in 1892, Saint-Sa\u00ebns encouraged Faur\u00e9 to apply for the vacant post. The faculty of the Conservatoire regarded Faur\u00e9 as dangerously modern, and its head, Ambroise Thomas, blocked the appointment, declaring, \"Faur\u00e9? Never! If he's appointed, I resign.\" However, Faur\u00e9 was appointed to another of Guiraud's posts, inspector of the music conservatories in the French provinces. He disliked the prolonged travelling around the country that the work entailed, but the post gave him a steady income and enabled him to give up teaching amateur pupils.\n", "labels": "What were the three things Marie became resentful to Faur\u00e9 about?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b3ad5e57c64842bb77775eabdee3b7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1883 Faur\u00e9 married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. The marriage was affectionate, but Marie became resentful of Faur\u00e9's frequent absences, his dislike of domestic life \u2013 \"horreur du domicile\" \u2013 and his love affairs, while she remained at home. Though Faur\u00e9 valued Marie as a friend and confidante, writing to her often \u2013 sometimes daily \u2013 when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Faur\u00e9 and his wife had two sons. The first, born in 1883, Emmanuel Faur\u00e9-Fremiet (Marie insisted on combining her family name with Faur\u00e9's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Faur\u00e9 was extremely attractive to women; in Duchen's phrase, \"his conquests were legion in the Paris salons.\" After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Faur\u00e9 met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Faur\u00e9's life. He maintained her in a Paris apartment, and she acted openly as his companion.\nAbout this time, or shortly afterwards, Faur\u00e9's liaison with Emma Bardac began; in Duchen's words, \"for the first time, in his late forties, he experienced a fulfilling, passionate relationship which extended over several years\". His principal biographers all agree that this affair inspired a burst of creativity and a new originality in his music, exemplified in the song cycle La bonne chanson. Faur\u00e9 wrote the Dolly Suite for piano duet between 1894 and 1897 and dedicated it to Bardac's daughter H\u00e9l\u00e8ne, known as \"Dolly\". Some people suspected that Faur\u00e9 was Dolly's father, but biographers including Nectoux and Duchen think it unlikely. Faur\u00e9's affair with Emma Bardac is thought to have begun after Dolly was born, though there is no conclusive evidence either way.During the 1890s Faur\u00e9's fortunes improved. When Ernest Guiraud, professor of composition at the Paris Conservatoire, died in 1892, Saint-Sa\u00ebns encouraged Faur\u00e9 to apply for the vacant post. The faculty of the Conservatoire regarded Faur\u00e9 as dangerously modern, and its head, Ambroise Thomas, blocked the appointment, declaring, \"Faur\u00e9? Never! If he's appointed, I resign.\" However, Faur\u00e9 was appointed to another of Guiraud's posts, inspector of the music conservatories in the French provinces. He disliked the prolonged travelling around the country that the work entailed, but the post gave him a steady income and enabled him to give up teaching amateur pupils.\n", "labels": "What is the full name of the person who did not share Faur\u00e9's passionate nature?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b3ad5e57c64842bb77775eabdee3b7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1883 Faur\u00e9 married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. The marriage was affectionate, but Marie became resentful of Faur\u00e9's frequent absences, his dislike of domestic life \u2013 \"horreur du domicile\" \u2013 and his love affairs, while she remained at home. Though Faur\u00e9 valued Marie as a friend and confidante, writing to her often \u2013 sometimes daily \u2013 when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Faur\u00e9 and his wife had two sons. The first, born in 1883, Emmanuel Faur\u00e9-Fremiet (Marie insisted on combining her family name with Faur\u00e9's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Faur\u00e9 was extremely attractive to women; in Duchen's phrase, \"his conquests were legion in the Paris salons.\" After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Faur\u00e9 met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Faur\u00e9's life. He maintained her in a Paris apartment, and she acted openly as his companion.\nAbout this time, or shortly afterwards, Faur\u00e9's liaison with Emma Bardac began; in Duchen's words, \"for the first time, in his late forties, he experienced a fulfilling, passionate relationship which extended over several years\". His principal biographers all agree that this affair inspired a burst of creativity and a new originality in his music, exemplified in the song cycle La bonne chanson. Faur\u00e9 wrote the Dolly Suite for piano duet between 1894 and 1897 and dedicated it to Bardac's daughter H\u00e9l\u00e8ne, known as \"Dolly\". Some people suspected that Faur\u00e9 was Dolly's father, but biographers including Nectoux and Duchen think it unlikely. Faur\u00e9's affair with Emma Bardac is thought to have begun after Dolly was born, though there is no conclusive evidence either way.During the 1890s Faur\u00e9's fortunes improved. When Ernest Guiraud, professor of composition at the Paris Conservatoire, died in 1892, Saint-Sa\u00ebns encouraged Faur\u00e9 to apply for the vacant post. The faculty of the Conservatoire regarded Faur\u00e9 as dangerously modern, and its head, Ambroise Thomas, blocked the appointment, declaring, \"Faur\u00e9? Never! If he's appointed, I resign.\" However, Faur\u00e9 was appointed to another of Guiraud's posts, inspector of the music conservatories in the French provinces. He disliked the prolonged travelling around the country that the work entailed, but the post gave him a steady income and enabled him to give up teaching amateur pupils.\n", "labels": "What was the full name of the person who acted openly as Faur\u00e9's companion?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b3ad5e57c64842bb77775eabdee3b7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1883 Faur\u00e9 married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. The marriage was affectionate, but Marie became resentful of Faur\u00e9's frequent absences, his dislike of domestic life \u2013 \"horreur du domicile\" \u2013 and his love affairs, while she remained at home. Though Faur\u00e9 valued Marie as a friend and confidante, writing to her often \u2013 sometimes daily \u2013 when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Faur\u00e9 and his wife had two sons. The first, born in 1883, Emmanuel Faur\u00e9-Fremiet (Marie insisted on combining her family name with Faur\u00e9's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Faur\u00e9 was extremely attractive to women; in Duchen's phrase, \"his conquests were legion in the Paris salons.\" After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Faur\u00e9 met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Faur\u00e9's life. He maintained her in a Paris apartment, and she acted openly as his companion.\nAbout this time, or shortly afterwards, Faur\u00e9's liaison with Emma Bardac began; in Duchen's words, \"for the first time, in his late forties, he experienced a fulfilling, passionate relationship which extended over several years\". His principal biographers all agree that this affair inspired a burst of creativity and a new originality in his music, exemplified in the song cycle La bonne chanson. Faur\u00e9 wrote the Dolly Suite for piano duet between 1894 and 1897 and dedicated it to Bardac's daughter H\u00e9l\u00e8ne, known as \"Dolly\". Some people suspected that Faur\u00e9 was Dolly's father, but biographers including Nectoux and Duchen think it unlikely. Faur\u00e9's affair with Emma Bardac is thought to have begun after Dolly was born, though there is no conclusive evidence either way.During the 1890s Faur\u00e9's fortunes improved. When Ernest Guiraud, professor of composition at the Paris Conservatoire, died in 1892, Saint-Sa\u00ebns encouraged Faur\u00e9 to apply for the vacant post. The faculty of the Conservatoire regarded Faur\u00e9 as dangerously modern, and its head, Ambroise Thomas, blocked the appointment, declaring, \"Faur\u00e9? Never! If he's appointed, I resign.\" However, Faur\u00e9 was appointed to another of Guiraud's posts, inspector of the music conservatories in the French provinces. He disliked the prolonged travelling around the country that the work entailed, but the post gave him a steady income and enabled him to give up teaching amateur pupils.\n", "labels": "What was the last name of the professor of composition at the Paris Conservatoire who died?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b3ad5e57c64842bb77775eabdee3b7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1883 Faur\u00e9 married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. The marriage was affectionate, but Marie became resentful of Faur\u00e9's frequent absences, his dislike of domestic life \u2013 \"horreur du domicile\" \u2013 and his love affairs, while she remained at home. Though Faur\u00e9 valued Marie as a friend and confidante, writing to her often \u2013 sometimes daily \u2013 when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Faur\u00e9 and his wife had two sons. The first, born in 1883, Emmanuel Faur\u00e9-Fremiet (Marie insisted on combining her family name with Faur\u00e9's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Faur\u00e9 was extremely attractive to women; in Duchen's phrase, \"his conquests were legion in the Paris salons.\" After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Faur\u00e9 met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Faur\u00e9's life. He maintained her in a Paris apartment, and she acted openly as his companion.\nAbout this time, or shortly afterwards, Faur\u00e9's liaison with Emma Bardac began; in Duchen's words, \"for the first time, in his late forties, he experienced a fulfilling, passionate relationship which extended over several years\". His principal biographers all agree that this affair inspired a burst of creativity and a new originality in his music, exemplified in the song cycle La bonne chanson. Faur\u00e9 wrote the Dolly Suite for piano duet between 1894 and 1897 and dedicated it to Bardac's daughter H\u00e9l\u00e8ne, known as \"Dolly\". Some people suspected that Faur\u00e9 was Dolly's father, but biographers including Nectoux and Duchen think it unlikely. Faur\u00e9's affair with Emma Bardac is thought to have begun after Dolly was born, though there is no conclusive evidence either way.During the 1890s Faur\u00e9's fortunes improved. When Ernest Guiraud, professor of composition at the Paris Conservatoire, died in 1892, Saint-Sa\u00ebns encouraged Faur\u00e9 to apply for the vacant post. The faculty of the Conservatoire regarded Faur\u00e9 as dangerously modern, and its head, Ambroise Thomas, blocked the appointment, declaring, \"Faur\u00e9? Never! If he's appointed, I resign.\" However, Faur\u00e9 was appointed to another of Guiraud's posts, inspector of the music conservatories in the French provinces. He disliked the prolonged travelling around the country that the work entailed, but the post gave him a steady income and enabled him to give up teaching amateur pupils.\n", "labels": "What was the full name of the person Faur\u00e9 replaced as inspector of the music conservatories in the French provinces?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b3ad5e57c64842bb77775eabdee3b7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1883 Faur\u00e9 married Marie Fremiet, the daughter of a leading sculptor, Emmanuel Fremiet. The marriage was affectionate, but Marie became resentful of Faur\u00e9's frequent absences, his dislike of domestic life \u2013 \"horreur du domicile\" \u2013 and his love affairs, while she remained at home. Though Faur\u00e9 valued Marie as a friend and confidante, writing to her often \u2013 sometimes daily \u2013 when away from home, she did not share his passionate nature, which found fulfilment elsewhere. Faur\u00e9 and his wife had two sons. The first, born in 1883, Emmanuel Faur\u00e9-Fremiet (Marie insisted on combining her family name with Faur\u00e9's), became a biologist of international reputation. The second son, Philippe, born in 1889, became a writer; his works included histories, plays, and biographies of his father and grandfather.Contemporary accounts agree that Faur\u00e9 was extremely attractive to women; in Duchen's phrase, \"his conquests were legion in the Paris salons.\" After a romantic attachment to the singer Emma Bardac from around 1892, followed by another to the composer Adela Maddison, in 1900 Faur\u00e9 met the pianist Marguerite Hasselmans, the daughter of Alphonse Hasselmans. This led to a relationship which lasted for the rest of Faur\u00e9's life. He maintained her in a Paris apartment, and she acted openly as his companion.\nAbout this time, or shortly afterwards, Faur\u00e9's liaison with Emma Bardac began; in Duchen's words, \"for the first time, in his late forties, he experienced a fulfilling, passionate relationship which extended over several years\". His principal biographers all agree that this affair inspired a burst of creativity and a new originality in his music, exemplified in the song cycle La bonne chanson. Faur\u00e9 wrote the Dolly Suite for piano duet between 1894 and 1897 and dedicated it to Bardac's daughter H\u00e9l\u00e8ne, known as \"Dolly\". Some people suspected that Faur\u00e9 was Dolly's father, but biographers including Nectoux and Duchen think it unlikely. Faur\u00e9's affair with Emma Bardac is thought to have begun after Dolly was born, though there is no conclusive evidence either way.During the 1890s Faur\u00e9's fortunes improved. When Ernest Guiraud, professor of composition at the Paris Conservatoire, died in 1892, Saint-Sa\u00ebns encouraged Faur\u00e9 to apply for the vacant post. The faculty of the Conservatoire regarded Faur\u00e9 as dangerously modern, and its head, Ambroise Thomas, blocked the appointment, declaring, \"Faur\u00e9? Never! If he's appointed, I resign.\" However, Faur\u00e9 was appointed to another of Guiraud's posts, inspector of the music conservatories in the French provinces. He disliked the prolonged travelling around the country that the work entailed, but the post gave him a steady income and enabled him to give up teaching amateur pupils.\n", "labels": "What were the full names of the three other women Faur\u00e9 had romantic attachments with besides his wife?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-a2b3ad5e57c64842bb77775eabdee3b7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Arthur Ashton is a makeup man working for National Television (a parody of the BBC). During a visit to the local laundrette, he meets Sid Gibson a shady pedlar who is trying to flog Bonko, a brand of washing powder in the shape of a pill, but who can't afford to advertise on TV. The fairly clueless Arthur agrees to help him, and they manage to plug an advert for Bonko on National Television by interrupting the live feed. This causes quite a stir amongst the National heads, who have Arthur fired. Despite this, the advert proves extremely popular and demand for the product soars.\nAfter repeating the stunt at Ascot Races, Sid, realising that this is potentially a huge moneymaker, does a deal with an advertising executive and, with Arthur's help, they plug cake mix at the Edinburgh Festival. After a narrow escape, Arthur wants to quit, but Sid persuades him to do one final job\u2014interrupting a press conference between the British Prime Minister and the American President. On the way, the Post Office van they are using is hijacked by criminals. Arthur, who is in the back of the van, contacts the police to thwart the robbery, leading to the final barnyard showdown. In the end, Arthur, now a hero and celebrity, gets his own TV show, brokered by Sid, of course.\n", "labels": "What  does the demand soar for?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3b43e61c29034f37b4c4ea7b5d51ec5a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "Who asks Ellen if she still loves him?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the full name of the person who brags about how he is doing in life?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the full name of the character whose husband plans to divorce her so that he can be with his lover?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the full name of the character who plans to divorce his wife so that he can be with his lover?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What are the full names of the characters who honeymoon in Niagara Falls?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the full name of the character who asks Harry why he stomped on her toes?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the name of the character whose bizarre daily actions bother his new wife?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the full name of the character who asks whether his new wife loves him after he stamps on her toes?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the full name of the character to whom Harry attempts to prove his love by getting a new job?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the first name of the wife of the person that Harry doesn't recognize at first?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "What is the first name of the person Milt intends on divorcing?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: About to nervously jump off a bridge, scrawny Harry Berlin is a barely functional human being. Just as he attempts to leap off the bridge, he is distracted by Milt Manville, an old friend from fifteen years ago. Harry doesn't really recognize him at first but there appears to be a contrast between the two of them with Milt boasting of how well he is doing in life while Harry tries to listen.\nMilt takes Harry to his house to meet Ellen Manville (Elaine May), Milt's long-suffering wife. She is complaining that their sex life is non-existent but Milt has a secret lover in the form of beautiful blonde Linda. Milt convinces a barely-there Harry to make a go of things with Ellen so that she is not left lonely when he will divorce her for Linda. It takes a while but Harry and Ellen eventually fall in love. They marry and go to Niagara Falls for their honeymoon but this is when Ellen realizes that Harry is the world's worst roommate and childish at heart. In one example, Harry unexpectedly stomps on Ellen's toe in order to test her love for him.  As she hobbles in pain, she asks, \"What did you do that for?,\" and in response, he asks her if she still loves him, and she says she does.\nAs Milt and Linda start to settle down as a couple, she quickly realizes that he has an addiction to selling household items and junk for a quick buck, something that she is strongly against. She immediately dumps him, which leads to Milt to want Ellen back when he realizes how much he loves her for real. She admits that she doesn't really love Harry as much as she thought, as his bizarre day-to-day activities get to her. Milt and Ellen plot to get back together and convince Harry to divorce her but he loves her and sets out to prove it by getting a job as an elevator operator in a shopping mall.\n", "labels": "Who does Milt hook up his wife with?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8aa8e61176554833929f9f48e3eea492"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and No\u00ebl Coward as narrators. In 2005, EMI issued a DVD, \"Francis Poulenc & Friends\", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques F\u00e9vrier and Georges Pr\u00eatre.\nA 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Pr\u00eatre, Andr\u00e9 Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes R\u00e9gine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and G\u00e9rard Souzay. Instrumental soloists include Britten, Jacques F\u00e9vrier, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rog\u00e9 (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carm\u00e9lites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.\n", "labels": "What is the full name of the person who played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and No\u00ebl Coward as narrators?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e4a943cc99854729a9d716c10d753fe8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and No\u00ebl Coward as narrators. In 2005, EMI issued a DVD, \"Francis Poulenc & Friends\", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques F\u00e9vrier and Georges Pr\u00eatre.\nA 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Pr\u00eatre, Andr\u00e9 Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes R\u00e9gine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and G\u00e9rard Souzay. Instrumental soloists include Britten, Jacques F\u00e9vrier, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rog\u00e9 (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carm\u00e9lites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.\n", "labels": "What is the full name of the person who recorded many of his own songs with Bernac and Duval?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e4a943cc99854729a9d716c10d753fe8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and No\u00ebl Coward as narrators. In 2005, EMI issued a DVD, \"Francis Poulenc & Friends\", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques F\u00e9vrier and Georges Pr\u00eatre.\nA 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Pr\u00eatre, Andr\u00e9 Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes R\u00e9gine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and G\u00e9rard Souzay. Instrumental soloists include Britten, Jacques F\u00e9vrier, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rog\u00e9 (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carm\u00e9lites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.\n", "labels": "What is the first name of the composer who was among those that recognized the important role that the gramophone would play in the promotion of music in the 1920s?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e4a943cc99854729a9d716c10d753fe8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and No\u00ebl Coward as narrators. In 2005, EMI issued a DVD, \"Francis Poulenc & Friends\", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques F\u00e9vrier and Georges Pr\u00eatre.\nA 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Pr\u00eatre, Andr\u00e9 Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes R\u00e9gine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and G\u00e9rard Souzay. Instrumental soloists include Britten, Jacques F\u00e9vrier, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rog\u00e9 (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carm\u00e9lites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.\n", "labels": "What is the name of the work for which the first studio recording was soon after its French premiere?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e4a943cc99854729a9d716c10d753fe8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and No\u00ebl Coward as narrators. In 2005, EMI issued a DVD, \"Francis Poulenc & Friends\", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques F\u00e9vrier and Georges Pr\u00eatre.\nA 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Pr\u00eatre, Andr\u00e9 Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes R\u00e9gine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and G\u00e9rard Souzay. Instrumental soloists include Britten, Jacques F\u00e9vrier, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rog\u00e9 (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carm\u00e9lites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.\n", "labels": "What is the last name of the person whose music was first recorded in 1928?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e4a943cc99854729a9d716c10d753fe8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.\nAt Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. \nAfter Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.\n", "labels": "Which character does not want to be sold to a museum in Japan?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-57e44d4cfdc84f89a540f61872b203e5"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.\nAt Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. \nAfter Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.\n", "labels": "Which character did Woody blame for turning on Al's television?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-57e44d4cfdc84f89a540f61872b203e5"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.\nAt Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. \nAfter Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.\n", "labels": "What was the name of the person that donated Jessie?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-57e44d4cfdc84f89a540f61872b203e5"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.\nAt Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. \nAfter Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.\n", "labels": "Which characted does Stinky Pete tell they will last forever in the museum?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-57e44d4cfdc84f89a540f61872b203e5"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Paradise!\" wrote Andr\u00e9e. \"Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!\" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sju\u00f8yane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sju\u00f8yane was out of their reach.\nOn 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, \"which\", writes Kjellstr\u00f6m, \"it had really been doing all along\". Drifting rapidly due south towards Kvit\u00f8ya, they hurriedly built a winter \"home\" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andr\u00e9e recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvit\u00f8ya, and they were forced to bring their stores on to the island itself, which took a couple of days. \"Morale remains good\", reports Andr\u00e9e at the very end of the coherent part of his diary, which ends: \"With such comrades one should be able to manage under, I may say, any circumstances\". It is inferred from the incoherent and badly damaged last pages of Andr\u00e9e's diary that the three men were all dead within a few days of moving onto the island.\n", "labels": "Who made fair apparent headway?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f81c20f08a78422ca4dabffcbf899cca"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Paradise!\" wrote Andr\u00e9e. \"Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!\" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sju\u00f8yane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sju\u00f8yane was out of their reach.\nOn 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, \"which\", writes Kjellstr\u00f6m, \"it had really been doing all along\". Drifting rapidly due south towards Kvit\u00f8ya, they hurriedly built a winter \"home\" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andr\u00e9e recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvit\u00f8ya, and they were forced to bring their stores on to the island itself, which took a couple of days. \"Morale remains good\", reports Andr\u00e9e at the very end of the coherent part of his diary, which ends: \"With such comrades one should be able to manage under, I may say, any circumstances\". It is inferred from the incoherent and badly damaged last pages of Andr\u00e9e's diary that the three men were all dead within a few days of moving onto the island.\n", "labels": "Who did Andr\u00e9e hope might get far enough south to feed themselves entirely from the sea?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f81c20f08a78422ca4dabffcbf899cca"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Paradise!\" wrote Andr\u00e9e. \"Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!\" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sju\u00f8yane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sju\u00f8yane was out of their reach.\nOn 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, \"which\", writes Kjellstr\u00f6m, \"it had really been doing all along\". Drifting rapidly due south towards Kvit\u00f8ya, they hurriedly built a winter \"home\" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andr\u00e9e recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvit\u00f8ya, and they were forced to bring their stores on to the island itself, which took a couple of days. \"Morale remains good\", reports Andr\u00e9e at the very end of the coherent part of his diary, which ends: \"With such comrades one should be able to manage under, I may say, any circumstances\". It is inferred from the incoherent and badly damaged last pages of Andr\u00e9e's diary that the three men were all dead within a few days of moving onto the island.\n", "labels": "Who was forced to bring their stores on to the island itself?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f81c20f08a78422ca4dabffcbf899cca"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Little Alice Daley is mauled to death by a German Shepherd dog in the yard of her father Patrick's veterinary practice. After her death, Patrick and his wife Louise, a pharmacist, move to a rural village called Wakewood, where they struggle to cope with the loss of their only child (Louise cannot have any more children). The couple's car mysteriously breaks down one evening in the middle of nowhere and they go to the nearby house of Patrick's veterinary colleague, Arthur, to seek help. There Louise witnesses Arthur leading a strange and bloody pagan ritual but refuses to say anything to Patrick. It becomes apparent that something strange is happening in town and that Arthur knows that Louise saw the ritual.\nSoon afterwards a farmer, Mick O'Shea, is accidentally killed by his own bull. Horrified, Louise and Patrick, who witness the accident, plan to leave, but Arthur, who needs their skills (and presumably doesn't want Louise telling what she saw), convinces them to stay by explaining that he has a ritual that brings back the dead, but only for three days, only within the boundaries of the townland, and only if the person has been dead for less than a year. This is the ritual that Louise witnessed. The couple agree to remain, excited to see their only child again.\nThe ritual requires a piece of the person to be resurrected, and the couple go grave-robbing, cutting off one of Alice's fingers and retrieving her necklace. The ritual also needs a fresh corpse. At Mick's wake, Arthur asks his widow, Peggy, to use his body, but she refuses, claiming there is something not right about the couple. However, Arthur persuades her by tacitly threatening her that if she refuses he will not resurrect Mick either.\n", "labels": "What is the full name of the person who's death causes the couple to plan to leave the village?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ea954750184147529950033ef9430e3e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyonc\u00e9's \"most accomplished album yet\". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyonc\u00e9 eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyonc\u00e9 as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows \"one of the world's biggest stars exploring her talent in ways few could've predicted\". AllMusic's Andy Kellman said that the quality of Beyonc\u00e9's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyonc\u00e9's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyonc\u00e9 did not progress from her past work and that \"even the OK bits here\" sounded \"uninspired\".\n", "labels": "What is the name of the publication who's critic claimed the songs on the album lack lyrical substance?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f6f521eaa07b4b4ebe758194a3f29216"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyonc\u00e9's \"most accomplished album yet\". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyonc\u00e9 eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyonc\u00e9 as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows \"one of the world's biggest stars exploring her talent in ways few could've predicted\". AllMusic's Andy Kellman said that the quality of Beyonc\u00e9's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyonc\u00e9's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyonc\u00e9 did not progress from her past work and that \"even the OK bits here\" sounded \"uninspired\".\n", "labels": "What is the name of the the publication who's critic claimed the album that got an average score of 73 was inconsistent, short, and unfinished?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f6f521eaa07b4b4ebe758194a3f29216"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyonc\u00e9's \"most accomplished album yet\". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyonc\u00e9 eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyonc\u00e9 as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows \"one of the world's biggest stars exploring her talent in ways few could've predicted\". AllMusic's Andy Kellman said that the quality of Beyonc\u00e9's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyonc\u00e9's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyonc\u00e9 did not progress from her past work and that \"even the OK bits here\" sounded \"uninspired\".\n", "labels": "What publication did the critic who said the album with a mean review score of 73 was marred with boring ballads in the first half?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f6f521eaa07b4b4ebe758194a3f29216"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyonc\u00e9's \"most accomplished album yet\". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyonc\u00e9 eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyonc\u00e9 as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows \"one of the world's biggest stars exploring her talent in ways few could've predicted\". AllMusic's Andy Kellman said that the quality of Beyonc\u00e9's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyonc\u00e9's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyonc\u00e9 did not progress from her past work and that \"even the OK bits here\" sounded \"uninspired\".\n", "labels": "What is the full name of the critic who said the album with 36 metacritic reviews was not very consequential??", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f6f521eaa07b4b4ebe758194a3f29216"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rotten, meanwhile, suffering from flu and coughing up blood, felt increasingly isolated from Cook and Jones, and disgusted by Vicious. On 14 January 1978, during the tour's final date at the Winterland Ballroom in San Francisco, a disillusioned Rotten introduced the band's encore saying, \"You'll get one number and one number only 'cause I'm a lazy bastard.\" That one number was a Stooges cover, \"No Fun\". At the end of the song, Rotten, kneeling on the stage, chanted an unambiguous declaration, \"This is no fun. No fun. This is no fun\u2014at all. No fun.\" As the final cymbal crash died away, Rotten addressed the audience directly\u2014\"Ah-ha-ha. Ever get the feeling you've been cheated? Good night\"\u2014before throwing down his microphone and walking offstage. He later observed, \"I felt cheated, and I wasn't going on with it any longer; it was a ridiculous farce. Sid was completely out of his brains\u2014just a waste of space. The whole thing was a joke at that point.... [Malcolm] wouldn't speak to me.... He would not discuss anything with me. But then he would turn around and tell Paul and Steve that the tension was all my fault because I wouldn't agree to anything.\"On 17 January, the band split, making their ways separately to Los Angeles. McLaren, Cook and Jones prepared to fly to Rio de Janeiro for a working vacation. Vicious, in increasingly bad shape, was taken to Los Angeles by a friend, who then brought him to New York, where he was immediately hospitalised. Rotten flew to New York, where he announced the band's break-up in a newspaper interview on 18 January. Virtually broke, he telephoned the head of Virgin Records, Richard Branson, who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band Devo, and tried to install Rotten as their lead singer. Devo declined the offer, which Rotten also found unappealing.Cook, Jones and Vicious never performed together again live after Rotten's departure. Over the next several months, McLaren arranged for recordings in Brazil (with Jones and Cook), Paris (with Vicious) and London; each of the three and others stepped in as lead vocalists on tracks that in some cases were far from what punk was expected to sound like. These recordings were to make up the musical soundtrack for the reconceived Pistols feature film project, directed by Julien Temple, to which McLaren was now devoting himself. On 30 June, a single credited to the Sex Pistols was released: on one side, notorious criminal Ronnie Biggs sang \"No One Is Innocent\" accompanied by Jones and Cook; on the other, Vicious sang the classic \"My Way\", over both a Jones\u2013Cook backing track and a string orchestra. The single reached number seven on the charts, eventually outselling all the singles with which Rotten was involved. McLaren was seeking to reconstitute the band with a permanent new frontman, but Vicious\u2014McLaren's first choice\u2014had sickened of him. In return for agreeing to record \"My Way\", Vicious had demanded that McLaren sign a sheet of paper declaring that he was no longer Vicious's manager. In August, Vicious, back in London, delivered his final performances as a nominal Sex Pistol: recording and filming cover versions of two Eddie Cochran songs. The bassist's return to New York in September put paid to McLaren's dreaming.\n", "labels": "What is the full name of the band whose encore was introduced by a disillusioned Rotten saying, \"You'll get one number and one number only 'cause I'm a lazy bastard\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fe21c9864e524838b7b46d46d227c124"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rotten, meanwhile, suffering from flu and coughing up blood, felt increasingly isolated from Cook and Jones, and disgusted by Vicious. On 14 January 1978, during the tour's final date at the Winterland Ballroom in San Francisco, a disillusioned Rotten introduced the band's encore saying, \"You'll get one number and one number only 'cause I'm a lazy bastard.\" That one number was a Stooges cover, \"No Fun\". At the end of the song, Rotten, kneeling on the stage, chanted an unambiguous declaration, \"This is no fun. No fun. This is no fun\u2014at all. No fun.\" As the final cymbal crash died away, Rotten addressed the audience directly\u2014\"Ah-ha-ha. Ever get the feeling you've been cheated? Good night\"\u2014before throwing down his microphone and walking offstage. He later observed, \"I felt cheated, and I wasn't going on with it any longer; it was a ridiculous farce. Sid was completely out of his brains\u2014just a waste of space. The whole thing was a joke at that point.... [Malcolm] wouldn't speak to me.... He would not discuss anything with me. But then he would turn around and tell Paul and Steve that the tension was all my fault because I wouldn't agree to anything.\"On 17 January, the band split, making their ways separately to Los Angeles. McLaren, Cook and Jones prepared to fly to Rio de Janeiro for a working vacation. Vicious, in increasingly bad shape, was taken to Los Angeles by a friend, who then brought him to New York, where he was immediately hospitalised. Rotten flew to New York, where he announced the band's break-up in a newspaper interview on 18 January. Virtually broke, he telephoned the head of Virgin Records, Richard Branson, who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band Devo, and tried to install Rotten as their lead singer. Devo declined the offer, which Rotten also found unappealing.Cook, Jones and Vicious never performed together again live after Rotten's departure. Over the next several months, McLaren arranged for recordings in Brazil (with Jones and Cook), Paris (with Vicious) and London; each of the three and others stepped in as lead vocalists on tracks that in some cases were far from what punk was expected to sound like. These recordings were to make up the musical soundtrack for the reconceived Pistols feature film project, directed by Julien Temple, to which McLaren was now devoting himself. On 30 June, a single credited to the Sex Pistols was released: on one side, notorious criminal Ronnie Biggs sang \"No One Is Innocent\" accompanied by Jones and Cook; on the other, Vicious sang the classic \"My Way\", over both a Jones\u2013Cook backing track and a string orchestra. The single reached number seven on the charts, eventually outselling all the singles with which Rotten was involved. McLaren was seeking to reconstitute the band with a permanent new frontman, but Vicious\u2014McLaren's first choice\u2014had sickened of him. In return for agreeing to record \"My Way\", Vicious had demanded that McLaren sign a sheet of paper declaring that he was no longer Vicious's manager. In August, Vicious, back in London, delivered his final performances as a nominal Sex Pistol: recording and filming cover versions of two Eddie Cochran songs. The bassist's return to New York in September put paid to McLaren's dreaming.\n", "labels": "What is the name of the person to whom Malcom wouldn't speak?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fe21c9864e524838b7b46d46d227c124"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rotten, meanwhile, suffering from flu and coughing up blood, felt increasingly isolated from Cook and Jones, and disgusted by Vicious. On 14 January 1978, during the tour's final date at the Winterland Ballroom in San Francisco, a disillusioned Rotten introduced the band's encore saying, \"You'll get one number and one number only 'cause I'm a lazy bastard.\" That one number was a Stooges cover, \"No Fun\". At the end of the song, Rotten, kneeling on the stage, chanted an unambiguous declaration, \"This is no fun. No fun. This is no fun\u2014at all. No fun.\" As the final cymbal crash died away, Rotten addressed the audience directly\u2014\"Ah-ha-ha. Ever get the feeling you've been cheated? Good night\"\u2014before throwing down his microphone and walking offstage. He later observed, \"I felt cheated, and I wasn't going on with it any longer; it was a ridiculous farce. Sid was completely out of his brains\u2014just a waste of space. The whole thing was a joke at that point.... [Malcolm] wouldn't speak to me.... He would not discuss anything with me. But then he would turn around and tell Paul and Steve that the tension was all my fault because I wouldn't agree to anything.\"On 17 January, the band split, making their ways separately to Los Angeles. McLaren, Cook and Jones prepared to fly to Rio de Janeiro for a working vacation. Vicious, in increasingly bad shape, was taken to Los Angeles by a friend, who then brought him to New York, where he was immediately hospitalised. Rotten flew to New York, where he announced the band's break-up in a newspaper interview on 18 January. Virtually broke, he telephoned the head of Virgin Records, Richard Branson, who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band Devo, and tried to install Rotten as their lead singer. Devo declined the offer, which Rotten also found unappealing.Cook, Jones and Vicious never performed together again live after Rotten's departure. Over the next several months, McLaren arranged for recordings in Brazil (with Jones and Cook), Paris (with Vicious) and London; each of the three and others stepped in as lead vocalists on tracks that in some cases were far from what punk was expected to sound like. These recordings were to make up the musical soundtrack for the reconceived Pistols feature film project, directed by Julien Temple, to which McLaren was now devoting himself. On 30 June, a single credited to the Sex Pistols was released: on one side, notorious criminal Ronnie Biggs sang \"No One Is Innocent\" accompanied by Jones and Cook; on the other, Vicious sang the classic \"My Way\", over both a Jones\u2013Cook backing track and a string orchestra. The single reached number seven on the charts, eventually outselling all the singles with which Rotten was involved. McLaren was seeking to reconstitute the band with a permanent new frontman, but Vicious\u2014McLaren's first choice\u2014had sickened of him. In return for agreeing to record \"My Way\", Vicious had demanded that McLaren sign a sheet of paper declaring that he was no longer Vicious's manager. In August, Vicious, back in London, delivered his final performances as a nominal Sex Pistol: recording and filming cover versions of two Eddie Cochran songs. The bassist's return to New York in September put paid to McLaren's dreaming.\n", "labels": "What is the name of the person who, according to Rotten, would \"turn around and tell Paul and Steve that the tension was all my fault\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fe21c9864e524838b7b46d46d227c124"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rotten, meanwhile, suffering from flu and coughing up blood, felt increasingly isolated from Cook and Jones, and disgusted by Vicious. On 14 January 1978, during the tour's final date at the Winterland Ballroom in San Francisco, a disillusioned Rotten introduced the band's encore saying, \"You'll get one number and one number only 'cause I'm a lazy bastard.\" That one number was a Stooges cover, \"No Fun\". At the end of the song, Rotten, kneeling on the stage, chanted an unambiguous declaration, \"This is no fun. No fun. This is no fun\u2014at all. No fun.\" As the final cymbal crash died away, Rotten addressed the audience directly\u2014\"Ah-ha-ha. Ever get the feeling you've been cheated? Good night\"\u2014before throwing down his microphone and walking offstage. He later observed, \"I felt cheated, and I wasn't going on with it any longer; it was a ridiculous farce. Sid was completely out of his brains\u2014just a waste of space. The whole thing was a joke at that point.... [Malcolm] wouldn't speak to me.... He would not discuss anything with me. But then he would turn around and tell Paul and Steve that the tension was all my fault because I wouldn't agree to anything.\"On 17 January, the band split, making their ways separately to Los Angeles. McLaren, Cook and Jones prepared to fly to Rio de Janeiro for a working vacation. Vicious, in increasingly bad shape, was taken to Los Angeles by a friend, who then brought him to New York, where he was immediately hospitalised. Rotten flew to New York, where he announced the band's break-up in a newspaper interview on 18 January. Virtually broke, he telephoned the head of Virgin Records, Richard Branson, who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band Devo, and tried to install Rotten as their lead singer. Devo declined the offer, which Rotten also found unappealing.Cook, Jones and Vicious never performed together again live after Rotten's departure. Over the next several months, McLaren arranged for recordings in Brazil (with Jones and Cook), Paris (with Vicious) and London; each of the three and others stepped in as lead vocalists on tracks that in some cases were far from what punk was expected to sound like. These recordings were to make up the musical soundtrack for the reconceived Pistols feature film project, directed by Julien Temple, to which McLaren was now devoting himself. On 30 June, a single credited to the Sex Pistols was released: on one side, notorious criminal Ronnie Biggs sang \"No One Is Innocent\" accompanied by Jones and Cook; on the other, Vicious sang the classic \"My Way\", over both a Jones\u2013Cook backing track and a string orchestra. The single reached number seven on the charts, eventually outselling all the singles with which Rotten was involved. McLaren was seeking to reconstitute the band with a permanent new frontman, but Vicious\u2014McLaren's first choice\u2014had sickened of him. In return for agreeing to record \"My Way\", Vicious had demanded that McLaren sign a sheet of paper declaring that he was no longer Vicious's manager. In August, Vicious, back in London, delivered his final performances as a nominal Sex Pistol: recording and filming cover versions of two Eddie Cochran songs. The bassist's return to New York in September put paid to McLaren's dreaming.\n", "labels": "What is the full name of the band that split on 17 January?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-fe21c9864e524838b7b46d46d227c124"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1\u20138 were taught within one school facility; from 1919 until the 1940s, students in grades 1\u201312 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.\n", "labels": "What school district is Todd Elementary School part of?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ed429f538a614ad3827ec67376430500"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1\u20138 were taught within one school facility; from 1919 until the 1940s, students in grades 1\u201312 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.\n", "labels": "What school district is Briarcliff High School part of?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ed429f538a614ad3827ec67376430500"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1\u20138 were taught within one school facility; from 1919 until the 1940s, students in grades 1\u201312 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.\n", "labels": "What town was the final location for Miss Knox's School?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ed429f538a614ad3827ec67376430500"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1\u20138 were taught within one school facility; from 1919 until the 1940s, students in grades 1\u201312 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.\n", "labels": "What year did the Scarborough School close?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ed429f538a614ad3827ec67376430500"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1\u20138 were taught within one school facility; from 1919 until the 1940s, students in grades 1\u201312 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.\n", "labels": "What was the name of the school located at the Beachwood estate?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ed429f538a614ad3827ec67376430500"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A musician named Dixie Dwyer begins working with mobsters to advance his career but falls in love with the girlfriend of gangland kingpin Dutch Schultz.\nA dancer from Dixie's neighborhood, Sandman Williams, is hired with his brother by the Cotton Club, a jazz club where most of the performers are black and the customers white. Owney Madden, a mobster, owns the club and runs it with his right-hand man, Frenchy.\nDixie becomes a Hollywood film star, thanks to the help of Madden and the mob but angering Schultz. He also continues to see Schultz's moll, Vera Cicero, whose new nightclub has been financed by the jealous gangster.\nIn the meantime, Dixie's ambitious younger brother Vincent becomes a gangster in Schultz's mob and eventually a public enemy, holding Frenchy as a hostage.\nSandman alienates his brother Clay at the Cotton Club by agreeing to perform a solo number there. While the club's management interferes with Sandman's romantic interest in Lila, a singer, its cruel treatment of the performers leads to an intervention by Harlem criminal \"Bumpy\" Rhodes on their behalf.\nDutch Schultz is violently dealt with by Madden's men while Dixie and Sandman perform on the Cotton Club's stage.\n", "labels": "What is the full name of the musician's neighbor?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5c3f38e960b5463796c79fe37d9d7419"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A musician named Dixie Dwyer begins working with mobsters to advance his career but falls in love with the girlfriend of gangland kingpin Dutch Schultz.\nA dancer from Dixie's neighborhood, Sandman Williams, is hired with his brother by the Cotton Club, a jazz club where most of the performers are black and the customers white. Owney Madden, a mobster, owns the club and runs it with his right-hand man, Frenchy.\nDixie becomes a Hollywood film star, thanks to the help of Madden and the mob but angering Schultz. He also continues to see Schultz's moll, Vera Cicero, whose new nightclub has been financed by the jealous gangster.\nIn the meantime, Dixie's ambitious younger brother Vincent becomes a gangster in Schultz's mob and eventually a public enemy, holding Frenchy as a hostage.\nSandman alienates his brother Clay at the Cotton Club by agreeing to perform a solo number there. While the club's management interferes with Sandman's romantic interest in Lila, a singer, its cruel treatment of the performers leads to an intervention by Harlem criminal \"Bumpy\" Rhodes on their behalf.\nDutch Schultz is violently dealt with by Madden's men while Dixie and Sandman perform on the Cotton Club's stage.\n", "labels": "What is the full name of the dancer's neighbor?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5c3f38e960b5463796c79fe37d9d7419"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A musician named Dixie Dwyer begins working with mobsters to advance his career but falls in love with the girlfriend of gangland kingpin Dutch Schultz.\nA dancer from Dixie's neighborhood, Sandman Williams, is hired with his brother by the Cotton Club, a jazz club where most of the performers are black and the customers white. Owney Madden, a mobster, owns the club and runs it with his right-hand man, Frenchy.\nDixie becomes a Hollywood film star, thanks to the help of Madden and the mob but angering Schultz. He also continues to see Schultz's moll, Vera Cicero, whose new nightclub has been financed by the jealous gangster.\nIn the meantime, Dixie's ambitious younger brother Vincent becomes a gangster in Schultz's mob and eventually a public enemy, holding Frenchy as a hostage.\nSandman alienates his brother Clay at the Cotton Club by agreeing to perform a solo number there. While the club's management interferes with Sandman's romantic interest in Lila, a singer, its cruel treatment of the performers leads to an intervention by Harlem criminal \"Bumpy\" Rhodes on their behalf.\nDutch Schultz is violently dealt with by Madden's men while Dixie and Sandman perform on the Cotton Club's stage.\n", "labels": "How does the dancer know Clay?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5c3f38e960b5463796c79fe37d9d7419"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A musician named Dixie Dwyer begins working with mobsters to advance his career but falls in love with the girlfriend of gangland kingpin Dutch Schultz.\nA dancer from Dixie's neighborhood, Sandman Williams, is hired with his brother by the Cotton Club, a jazz club where most of the performers are black and the customers white. Owney Madden, a mobster, owns the club and runs it with his right-hand man, Frenchy.\nDixie becomes a Hollywood film star, thanks to the help of Madden and the mob but angering Schultz. He also continues to see Schultz's moll, Vera Cicero, whose new nightclub has been financed by the jealous gangster.\nIn the meantime, Dixie's ambitious younger brother Vincent becomes a gangster in Schultz's mob and eventually a public enemy, holding Frenchy as a hostage.\nSandman alienates his brother Clay at the Cotton Club by agreeing to perform a solo number there. While the club's management interferes with Sandman's romantic interest in Lila, a singer, its cruel treatment of the performers leads to an intervention by Harlem criminal \"Bumpy\" Rhodes on their behalf.\nDutch Schultz is violently dealt with by Madden's men while Dixie and Sandman perform on the Cotton Club's stage.\n", "labels": "Who runs the club Sandman says he'll perform solo in with the mobster who owns it?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5c3f38e960b5463796c79fe37d9d7419"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A musician named Dixie Dwyer begins working with mobsters to advance his career but falls in love with the girlfriend of gangland kingpin Dutch Schultz.\nA dancer from Dixie's neighborhood, Sandman Williams, is hired with his brother by the Cotton Club, a jazz club where most of the performers are black and the customers white. Owney Madden, a mobster, owns the club and runs it with his right-hand man, Frenchy.\nDixie becomes a Hollywood film star, thanks to the help of Madden and the mob but angering Schultz. He also continues to see Schultz's moll, Vera Cicero, whose new nightclub has been financed by the jealous gangster.\nIn the meantime, Dixie's ambitious younger brother Vincent becomes a gangster in Schultz's mob and eventually a public enemy, holding Frenchy as a hostage.\nSandman alienates his brother Clay at the Cotton Club by agreeing to perform a solo number there. While the club's management interferes with Sandman's romantic interest in Lila, a singer, its cruel treatment of the performers leads to an intervention by Harlem criminal \"Bumpy\" Rhodes on their behalf.\nDutch Schultz is violently dealt with by Madden's men while Dixie and Sandman perform on the Cotton Club's stage.\n", "labels": "Whose brother holds the man who runs Madden's club hostage?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5c3f38e960b5463796c79fe37d9d7419"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as \"enforced hiatuses\" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an \"outline,\" as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls \"new and violent contrasts\" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still \"an ingenious episodic treatment of two tunes rather than a symphonic development of them\" in the Germanic sense, Brown counters that it took the listener of the period \"through a succession of often highly charged sections which added up to a radically new kind of symphonic experience\" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering \"full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience\". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music \"became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener\u2019s own emotional self\". This active engagement with the music \"opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one\u2019s own 'truly lived and felt experience' or one\u2019s search for intensity in a deeply personal sense\".\n", "labels": "What is the last name of the person who sidestepped thematic interaction and kept sonata form only as an \"outline?\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-84e8b581734d454e8919ca826cf318df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as \"enforced hiatuses\" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an \"outline,\" as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls \"new and violent contrasts\" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still \"an ingenious episodic treatment of two tunes rather than a symphonic development of them\" in the Germanic sense, Brown counters that it took the listener of the period \"through a succession of often highly charged sections which added up to a radically new kind of symphonic experience\" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering \"full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience\". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music \"became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener\u2019s own emotional self\". This active engagement with the music \"opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one\u2019s own 'truly lived and felt experience' or one\u2019s search for intensity in a deeply personal sense\".\n", "labels": "What is the first name of the person who said Tchaikovsky kept sonata form only as an \"outline?\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-84e8b581734d454e8919ca826cf318df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as \"enforced hiatuses\" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an \"outline,\" as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls \"new and violent contrasts\" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still \"an ingenious episodic treatment of two tunes rather than a symphonic development of them\" in the Germanic sense, Brown counters that it took the listener of the period \"through a succession of often highly charged sections which added up to a radically new kind of symphonic experience\" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering \"full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience\". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music \"became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener\u2019s own emotional self\". This active engagement with the music \"opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one\u2019s own 'truly lived and felt experience' or one\u2019s search for intensity in a deeply personal sense\".\n", "labels": "What is the first name of the person who said Tchaikovsky placed blocks of dissimilar tonal material alongside thematic material with \"new and violent contrasts\" between musical themes, keys and harmonies?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-84e8b581734d454e8919ca826cf318df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as \"enforced hiatuses\" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an \"outline,\" as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls \"new and violent contrasts\" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still \"an ingenious episodic treatment of two tunes rather than a symphonic development of them\" in the Germanic sense, Brown counters that it took the listener of the period \"through a succession of often highly charged sections which added up to a radically new kind of symphonic experience\" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering \"full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience\". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music \"became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener\u2019s own emotional self\". This active engagement with the music \"opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one\u2019s own 'truly lived and felt experience' or one\u2019s search for intensity in a deeply personal sense\".\n", "labels": "What is the name of the person that created \"new and violent contrasts\" between musical themes, keys, and harmonies?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-84e8b581734d454e8919ca826cf318df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as \"enforced hiatuses\" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an \"outline,\" as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls \"new and violent contrasts\" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still \"an ingenious episodic treatment of two tunes rather than a symphonic development of them\" in the Germanic sense, Brown counters that it took the listener of the period \"through a succession of often highly charged sections which added up to a radically new kind of symphonic experience\" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering \"full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience\". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music \"became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener\u2019s own emotional self\". This active engagement with the music \"opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one\u2019s own 'truly lived and felt experience' or one\u2019s search for intensity in a deeply personal sense\".\n", "labels": "What is the name of the person that said Tchaikovsky's music has the mark of the truly lived and felt experience?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-84e8b581734d454e8919ca826cf318df"}]