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56d3823659d6e414001465b7
|
Frédéric_Chopin
|
With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."
|
Who accompanied Chopin's sister to Paris?
|
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"text": [
"her husband and daughter"
]
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|
context-5_48_1.mp3
|
context-5_48.mp3
| 22,050 |
Joanna
|
In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12.
|
In June eighteen forty-nine his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendome twelve.
|
question-5_48_3.mp3
| 22,050 |
Brian
|
Who accompanied Chopin's sister to Paris?
|
56d3823659d6e414001465b8
|
Frédéric_Chopin
|
With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."
|
Who gave Chopin a loan in September for an apartment?
|
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"audio_segment_answer_start": [
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"text": [
"Jane Stirling"
]
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|
context-5_48_1.mp3
|
context-5_48.mp3
| 22,050 |
Joanna
|
In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12.
|
In June eighteen forty-nine his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendome twelve.
|
question-5_48_4.mp3
| 22,050 |
Olivia
|
Who gave Chopin a loan in September for an apartment?
|
56d3823659d6e414001465b9
|
Frédéric_Chopin
|
With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."
|
What did Parisian ladies consider proper etiquette when in Chopin's room?
|
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"text": [
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|
context-5_48_2.mp3
|
context-5_48.mp3
| 22,050 |
Joanna
|
After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."
|
After fifteen October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."
|
question-5_48_5.mp3
| 22,050 |
Kevin
|
What did Parisian ladies consider proper etiquette when in Chopin's room?
|
56cfe9df234ae51400d9c0a1
|
Frédéric_Chopin
|
Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
Why did Chopin request being cut open after his death?
|
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"text": [
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|
context-5_49_1.mp3
|
context-5_49.mp3
| 22,050 |
Kimberly
|
Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross.
|
Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross.
|
question-5_49_0.mp3
| 22,050 |
Matthew
|
Why did Chopin request being cut open after his death?
|
56cfe9df234ae51400d9c0a3
|
Frédéric_Chopin
|
Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
What did Chopin reply to the doctor when asked is he was suffering?
|
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"text": [
"\"No longer\""
]
}
|
context-5_49_4.mp3
|
context-5_49.mp3
| 22,050 |
Kimberly
|
"No longer", he replied.
|
"No longer", he replied.
|
question-5_49_1.mp3
| 22,050 |
Kevin
|
What did Chopin reply to the doctor when asked is he was suffering?
|
56cfe9df234ae51400d9c0a4
|
Frédéric_Chopin
|
Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
Who made Chopin's death mask?
|
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3.13
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"text": [
"Clésinger"
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|
context-5_49_7.mp3
|
context-5_49.mp3
| 22,050 |
Kimberly
|
Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
Later that morning, Solange's husband Clesinger made Chopin's death mask and a cast of his left hand.
|
question-5_49_2.mp3
| 22,050 |
Kimberly
|
Who made Chopin's death mask?
|
56d38a4a59d6e414001466bb
|
Frédéric_Chopin
|
Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
Why did Chopin want his body opened when he died?
|
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|
context-5_49_1.mp3
|
context-5_49.mp3
| 22,050 |
Kimberly
|
Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross.
|
Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross.
|
question-5_49_3.mp3
| 22,050 |
Joanna
|
Why did Chopin want his body opened when he died?
|
56d38a4a59d6e414001466bf
|
Frédéric_Chopin
|
Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
What did Solange's husband make hours after Chopin's death along with his death mask?
|
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6.48
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4.96
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"text": [
"a cast of his left hand."
]
}
|
context-5_49_7.mp3
|
context-5_49.mp3
| 22,050 |
Kimberly
|
Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.
|
Later that morning, Solange's husband Clesinger made Chopin's death mask and a cast of his left hand.
|
question-5_49_4.mp3
| 22,050 |
Salli
|
What did Solange's husband make hours after Chopin's death along with his death mask?
|
56cfeaa3234ae51400d9c0b3
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
What is listed as Chopin's official cause of death?
|
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"tuberculosis"
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|
context-5_50_1.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
question-5_50_0.mp3
| 22,050 |
Salli
|
What is listed as Chopin's official cause of death?
|
56cfeaa3234ae51400d9c0b4
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
What was the name of Chopin's doctor?
|
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|
context-5_50_1.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
question-5_50_1.mp3
| 22,050 |
Emma
|
What was the name of Chopin's doctor?
|
56cfeaa3234ae51400d9c0b5
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
What has the Polish government not allowed to find true cause of death?
|
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1.86
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0.76
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"text": [
"DNA testing"
]
}
|
context-5_50_4.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
question-5_50_2.mp3
| 22,050 |
Salli
|
What has the Polish government not allowed to find true cause of death?
|
56d38ac959d6e414001466cf
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
What was the cause of death on Chopin's death certificate?
|
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|
context-5_50_1.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
question-5_50_3.mp3
| 22,050 |
Brian
|
What was the cause of death on Chopin's death certificate?
|
56d38ac959d6e414001466d0
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
Who was Chopin's physician?
|
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"Jean Cruveilhier"
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|
context-5_50_1.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease.
|
question-5_50_4.mp3
| 22,050 |
Justin
|
Who was Chopin's physician?
|
56d38ac959d6e414001466d1
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
Other possiblities for Chopin's death include cirrhosis, alpha 1-antitrypsin deficiency, and what?
|
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16.15403628117914
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3.85
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"audio_segment_answer_start": [
2.57
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"text": [
"cystic fibrosis"
]
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|
context-5_50_2.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency.
|
Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha one-antitrypsin deficiency.
|
question-5_50_5.mp3
| 22,050 |
Salli
|
Other possiblities for Chopin's death include cirrhosis, alpha one-antitrypsin deficiency, and what?
|
56d38ac959d6e414001466d2
|
Frédéric_Chopin
|
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
Who has denied testing Chopin's DNA to determine the actual cause of death?
|
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"text": [
"the Polish government."
]
}
|
context-5_50_4.mp3
|
context-5_50.mp3
| 22,050 |
Amy
|
Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.
|
question-5_50_6.mp3
| 22,050 |
Salli
|
Who has denied testing Chopin's DNA to determine the actual cause of death?
|
56cfeae2234ae51400d9c0b9
|
Frédéric_Chopin
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
Where was Chopin's funeral held?
|
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"text": [
"Church of the Madeleine"
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|
context-5_51_0.mp3
|
context-5_51.mp3
| 22,050 |
Joey
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October.
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until thirty October.
|
question-5_51_0.mp3
| 22,050 |
Kimberly
|
Where was Chopin's funeral held?
|
56cfeae2234ae51400d9c0ba
|
Frédéric_Chopin
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
How long was Chopin's funeral delayed?
|
{
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4.79
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"text": [
"two weeks"
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|
context-5_51_0.mp3
|
context-5_51.mp3
| 22,050 |
Joey
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October.
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until thirty October.
|
question-5_51_1.mp3
| 22,050 |
Kevin
|
How long was Chopin's funeral delayed?
|
56cfeae2234ae51400d9c0bb
|
Frédéric_Chopin
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
How many people arrived for Chopin's funeral?
|
{
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11.808027210884353
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1.29
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0.12
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"text": [
"Over 3,000"
]
}
|
context-5_51_2.mp3
|
context-5_51.mp3
| 22,050 |
Joey
|
Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
Over three thousand people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
question-5_51_2.mp3
| 22,050 |
Matthew
|
How many people arrived for Chopin's funeral?
|
56d38ba459d6e414001466e7
|
Frédéric_Chopin
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
Where was Chopin's funeral held?
|
{
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3.53
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1.68
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3.53
],
"audio_segment_answer_start": [
1.68
],
"text": [
"the Church of the Madeleine in Paris"
]
}
|
context-5_51_0.mp3
|
context-5_51.mp3
| 22,050 |
Joey
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October.
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until thirty October.
|
question-5_51_3.mp3
| 22,050 |
Salli
|
Where was Chopin's funeral held?
|
56d38ba459d6e414001466e8
|
Frédéric_Chopin
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
How long was Chopin's funeral delayed?
|
{
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78
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5.47
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4.79
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"audio_segment_answer_start": [
4.79
],
"text": [
"two weeks"
]
}
|
context-5_51_0.mp3
|
context-5_51.mp3
| 22,050 |
Joey
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October.
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until thirty October.
|
question-5_51_4.mp3
| 22,050 |
Kendra
|
How long was Chopin's funeral delayed?
|
56d38ba459d6e414001466eb
|
Frédéric_Chopin
|
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
How many people arrived without an invitation?
|
{
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189
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12.978027210884353
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"audio_full_answer_start": [
11.808027210884353
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"audio_segment_answer_end": [
1.29
],
"audio_segment_answer_start": [
0.12
],
"text": [
"Over 3,000"
]
}
|
context-5_51_2.mp3
|
context-5_51.mp3
| 22,050 |
Joey
|
Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
Over three thousand people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
|
question-5_51_5.mp3
| 22,050 |
Emma
|
How many people arrived without an invitation?
|
56cfeb52234ae51400d9c0bf
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
What song was sung at Chopin's funeral?
|
{
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0.1
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1.23
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"audio_segment_answer_start": [
0.1
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"text": [
"Mozart's Requiem"
]
}
|
context-5_52_0.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No.
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No.
|
question-5_52_0.mp3
| 22,050 |
Matthew
|
What song was sung at Chopin's funeral?
|
56cfeb52234ae51400d9c0c0
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
Who was the organist at Chopin's funeral?
|
{
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19.874036281179137
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18.684036281179136
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2.93
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"audio_segment_answer_start": [
1.74
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"text": [
"Louis Lefébure-Wély"
]
}
|
context-5_52_3.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
The organist at the funeral was Louis Lefébure-Wély.
|
The organist at the funeral was Louis Lefebure-Wely.
|
question-5_52_1.mp3
| 22,050 |
Matthew
|
Who was the organist at Chopin's funeral?
|
56cfeb52234ae51400d9c0c1
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
Who led Chopin's funeral procession?
|
{
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422
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27.938072562358276
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26.468072562358277
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"audio_segment_answer_end": [
7.97
],
"audio_segment_answer_start": [
6.5
],
"text": [
"Prince Adam Czartoryski"
]
}
|
context-5_52_4.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski.
|
The funeral procession to Pere Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski.
|
question-5_52_2.mp3
| 22,050 |
Amy
|
Who led Chopin's funeral procession?
|
56cfeb52234ae51400d9c0c2
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
What was played at his graveside?
|
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"audio_segment_answer_start": null,
"text": [
"Funeral March from Chopin's Piano Sonata No. 2"
]
}
| null | null | null | null | null | null | null | null | null | null |
56d38c2b59d6e41400146703
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
What Mozart song was sung at Chopin's funeral?
|
{
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1.23
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"audio_segment_answer_start": [
0.1
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"text": [
"Mozart's Requiem"
]
}
|
context-5_52_0.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No.
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No.
|
question-5_52_4.mp3
| 22,050 |
Kendra
|
What Mozart song was sung at Chopin's funeral?
|
56d38c2b59d6e41400146704
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
Who was the organist for Chopin's funeral?
|
{
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291
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19.874036281179137
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18.684036281179136
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
2.93
],
"audio_segment_answer_start": [
1.74
],
"text": [
"Louis Lefébure-Wély"
]
}
|
context-5_52_3.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
The organist at the funeral was Louis Lefébure-Wély.
|
The organist at the funeral was Louis Lefebure-Wely.
|
question-5_52_5.mp3
| 22,050 |
Salli
|
Who was the organist for Chopin's funeral?
|
56d38c2b59d6e41400146705
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
Which cemetery was Chopin buried in?
|
{
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22.558072562358277
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21.258072562358276
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2.59
],
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1.29
],
"text": [
"Père Lachaise Cemetery"
]
}
|
context-5_52_4.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski.
|
The funeral procession to Pere Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski.
|
question-5_52_6.mp3
| 22,050 |
Justin
|
Which cemetery was Chopin buried in?
|
56d38c2b59d6e41400146706
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
Who led the funeral procession?
|
{
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422
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27.938072562358276
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26.468072562358277
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"audio_segment_answer_end": [
7.97
],
"audio_segment_answer_start": [
6.5
],
"text": [
"Prince Adam Czartoryski"
]
}
|
context-5_52_4.mp3
|
context-5_52.mp3
| 22,050 |
Ivy
|
The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski.
|
The funeral procession to Pere Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski.
|
question-5_52_7.mp3
| 22,050 |
Ivy
|
Who led the funeral procession?
|
56d38c2b59d6e41400146707
|
Frédéric_Chopin
|
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.
|
What was played at Chopin's graveside?
|
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533
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"audio_segment_answer_start": null,
"text": [
"the Funeral March from Chopin's Piano Sonata No. 2"
]
}
| null | null | null | null | null | null | null | null | null | null |
56cfec4b234ae51400d9c0cd
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Who sculpted Chopin's tombstone?
|
{
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7.72
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7.1
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"audio_segment_answer_end": [
7.72
],
"audio_segment_answer_start": [
7.1
],
"text": [
"Clésinger"
]
}
|
context-5_53_0.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger.
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clesinger.
|
question-5_53_0.mp3
| 22,050 |
Kevin
|
Who sculpted Chopin's tombstone?
|
56cfec4b234ae51400d9c0ce
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
What is the name of the muse carved on Chopin's tombstone?
|
{
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3.69
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3.24
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"audio_segment_answer_end": [
3.69
],
"audio_segment_answer_start": [
3.24
],
"text": [
"Euterpe"
]
}
|
context-5_53_0.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger.
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clesinger.
|
question-5_53_1.mp3
| 22,050 |
Justin
|
What is the name of the muse carved on Chopin's tombstone?
|
56cfec4b234ae51400d9c0cf
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
How much did Chopin's funeral cost?
|
{
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12.05
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10.89
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4.25
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3.09
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"text": [
"5,000 francs"
]
}
|
context-5_53_1.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
The expenses of the funeral and monument, amounting to five thousand francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
question-5_53_2.mp3
| 22,050 |
Emma
|
How much did Chopin's funeral cost?
|
56cfec4b234ae51400d9c0d0
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Who paid for Chopin's funeral?
|
{
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211
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13.69
],
"audio_full_answer_start": [
12.83
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5.89
],
"audio_segment_answer_start": [
5.03
],
"text": [
"Jane Stirling"
]
}
|
context-5_53_1.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
The expenses of the funeral and monument, amounting to five thousand francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
question-5_53_3.mp3
| 22,050 |
Matthew
|
Who paid for Chopin's funeral?
|
56cfec4b234ae51400d9c0d1
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Chopin's sister Ludwika took his heart back to Warsaw preserved in what?
|
{
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351
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21.2
],
"audio_full_answer_start": [
20.61
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
3.68
],
"audio_segment_answer_start": [
3.09
],
"text": [
"alcohol"
]
}
|
context-5_53_2.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in eighteen fifty.[n nine] She also took a collection of two hundred letters from Sand to Chopin; after eighteen fifty-one these were returned to Sand, who seems to have destroyed them.
|
question-5_53_4.mp3
| 22,050 |
Amy
|
Chopin's sister Ludwika took his heart back to Warsaw preserved in what?
|
56d38cc659d6e4140014672b
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Who designed Chopin's tombstone?
|
{
"answer_start": [
115
],
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7.72
],
"audio_full_answer_start": [
7.1
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
7.72
],
"audio_segment_answer_start": [
7.1
],
"text": [
"Clésinger."
]
}
|
context-5_53_0.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger.
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clesinger.
|
question-5_53_5.mp3
| 22,050 |
Joey
|
Who designed Chopin's tombstone?
|
56d38cc659d6e4140014672c
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
How much did Chopin's funeral and monument cost?
|
{
"answer_start": [
181
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12.05
],
"audio_full_answer_start": [
10.89
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
4.25
],
"audio_segment_answer_start": [
3.09
],
"text": [
"5,000 francs"
]
}
|
context-5_53_1.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
The expenses of the funeral and monument, amounting to five thousand francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
question-5_53_6.mp3
| 22,050 |
Ivy
|
How much did Chopin's funeral and monument cost?
|
56d38cc659d6e4140014672d
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Who paid for Chopin's funeral?
|
{
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211
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13.69
],
"audio_full_answer_start": [
12.83
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5.89
],
"audio_segment_answer_start": [
5.03
],
"text": [
"Jane Stirling"
]
}
|
context-5_53_1.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
The expenses of the funeral and monument, amounting to five thousand francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
question-5_53_7.mp3
| 22,050 |
Joey
|
Who paid for Chopin's funeral?
|
56d38cc659d6e4140014672e
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Who took Chopin's heart to Poland?
|
{
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273
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16.32
],
"audio_full_answer_start": [
15.969999999999999
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"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
8.52
],
"audio_segment_answer_start": [
8.17
],
"text": [
"sister"
]
}
|
context-5_53_1.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
The expenses of the funeral and monument, amounting to five thousand francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw.
|
question-5_53_8.mp3
| 22,050 |
Matthew
|
Who took Chopin's heart to Poland?
|
56d38cc659d6e4140014672f
|
Frédéric_Chopin
|
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Who ended up with the 200 letters from Sand to Chopin?
|
{
"answer_start": [
444
],
"audio_full_answer_end": [
26.97
],
"audio_full_answer_start": [
26.73
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.45
],
"audio_segment_answer_start": [
9.21
],
"text": [
"Sand"
]
}
|
context-5_53_2.mp3
|
context-5_53.mp3
| 22,050 |
Olivia
|
Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.
|
Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in eighteen fifty.[n nine] She also took a collection of two hundred letters from Sand to Chopin; after eighteen fifty-one these were returned to Sand, who seems to have destroyed them.
|
question-5_53_9.mp3
| 22,050 |
Joey
|
Who ended up with the two hundred letters from Sand to Chopin?
|
56cfec7b234ae51400d9c0d7
|
Frédéric_Chopin
|
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
How many of Chopin's works still exist?
|
{
"answer_start": [
0
],
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1.32
],
"audio_full_answer_start": [
0.11
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
1.32
],
"audio_segment_answer_start": [
0.11
],
"text": [
"Over 230"
]
}
|
context-5_54_0.mp3
|
context-5_54.mp3
| 22,050 |
Ivy
|
Over 230 works of Chopin survive; some compositions from early childhood have been lost.
|
Over two hundred thirty works of Chopin survive; some compositions from early childhood have been lost.
|
question-5_54_0.mp3
| 22,050 |
Emma
|
How many of Chopin's works still exist?
|
56cfec7b234ae51400d9c0d8
|
Frédéric_Chopin
|
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
All of his pieces include what instrument?
|
{
"answer_start": [
121
],
"audio_full_answer_end": [
8.154036281179138
],
"audio_full_answer_start": [
7.594036281179139
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
2.13
],
"audio_segment_answer_start": [
1.57
],
"text": [
"piano"
]
}
|
context-5_54_1.mp3
|
context-5_54.mp3
| 22,050 |
Ivy
|
All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
question-5_54_1.mp3
| 22,050 |
Justin
|
All of his pieces include what instrument?
|
56d38cfe59d6e4140014673b
|
Frédéric_Chopin
|
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
How many Chopin pieces are known to have survived?
|
{
"answer_start": [
0
],
"audio_full_answer_end": [
1.32
],
"audio_full_answer_start": [
0.11
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
1.32
],
"audio_segment_answer_start": [
0.11
],
"text": [
"Over 230"
]
}
|
context-5_54_0.mp3
|
context-5_54.mp3
| 22,050 |
Ivy
|
Over 230 works of Chopin survive; some compositions from early childhood have been lost.
|
Over two hundred thirty works of Chopin survive; some compositions from early childhood have been lost.
|
question-5_54_2.mp3
| 22,050 |
Brian
|
How many Chopin pieces are known to have survived?
|
56d38cfe59d6e4140014673c
|
Frédéric_Chopin
|
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?
|
{
"answer_start": [
210
],
"audio_full_answer_end": [
14.724036281179139
],
"audio_full_answer_start": [
13.894036281179138
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
8.7
],
"audio_segment_answer_start": [
7.87
],
"text": [
"chamber music."
]
}
|
context-5_54_1.mp3
|
context-5_54.mp3
| 22,050 |
Ivy
|
All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
|
question-5_54_3.mp3
| 22,050 |
Amy
|
Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?
|
56cfed0f234ae51400d9c0db
|
Frédéric_Chopin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
|
Whose piano method did Chopin teach his students?
|
{
"answer_start": [
69
],
"audio_full_answer_end": [
5
],
"audio_full_answer_start": [
4.35
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5
],
"audio_segment_answer_start": [
4.35
],
"text": [
"Clementi"
]
}
|
context-5_55_0.mp3
|
context-5_55.mp3
| 22,050 |
Kevin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students.
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students.
|
question-5_55_0.mp3
| 22,050 |
Amy
|
Whose piano method did Chopin teach his students?
|
56d38d6559d6e4140014674f
|
Frédéric_Chopin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
|
Whose piano method did Chopin use with his students?
|
{
"answer_start": [
69
],
"audio_full_answer_end": [
5
],
"audio_full_answer_start": [
4.35
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5
],
"audio_segment_answer_start": [
4.35
],
"text": [
"Clementi"
]
}
|
context-5_55_0.mp3
|
context-5_55.mp3
| 22,050 |
Kevin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students.
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students.
|
question-5_55_1.mp3
| 22,050 |
Kendra
|
Whose piano method did Chopin use with his students?
|
56d38d6559d6e41400146750
|
Frédéric_Chopin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
|
Who did Chopin say were the two most important composers in his own music influences?
|
{
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235
],
"audio_full_answer_end": [
15.849999999999998
],
"audio_full_answer_start": [
15.03
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
1.45
],
"audio_segment_answer_start": [
0.63
],
"text": [
"Bach and Mozart"
]
}
|
context-5_55_2.mp3
|
context-5_55.mp3
| 22,050 |
Kevin
|
He cited Bach and Mozart as the two most important composers in shaping his musical outlook.
|
He cited Bach and Mozart as the two most important composers in shaping his musical outlook.
|
question-5_55_2.mp3
| 22,050 |
Joey
|
Who did Chopin say were the two most important composers in his own music influences?
|
56d38d6559d6e41400146751
|
Frédéric_Chopin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
|
Chopin looked to Beethoven, Mozart, Clementi and who for his own music education?
|
{
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51
],
"audio_full_answer_end": [
3.48
],
"audio_full_answer_start": [
2.91
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
3.48
],
"audio_segment_answer_start": [
2.91
],
"text": [
"Haydn"
]
}
|
context-5_55_0.mp3
|
context-5_55.mp3
| 22,050 |
Kevin
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students.
|
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students.
|
question-5_55_3.mp3
| 22,050 |
Salli
|
Chopin looked to Beethoven, Mozart, Clementi and who for his own music education?
|
56cfed8a234ae51400d9c0e1
|
Frédéric_Chopin
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
|
Who is credited with creating the nocturne?
|
{
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80
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5.47
],
"audio_full_answer_start": [
4.7
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5.47
],
"audio_segment_answer_start": [
4.7
],
"text": [
"John Field"
]
}
|
context-5_56_0.mp3
|
context-5_56.mp3
| 22,050 |
Ivy
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication.
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication.
|
question-5_56_0.mp3
| 22,050 |
Salli
|
Who is credited with creating the nocturne?
|
56cfed8a234ae51400d9c0e2
|
Frédéric_Chopin
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
|
Chopin was the first person to create what as singular concert pieces?
|
{
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10.038027210884353
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"audio_full_neg_answer_start": [],
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2.31
],
"audio_segment_answer_start": [
1.23
],
"text": [
"ballades and scherzi"
]
}
|
context-5_56_1.mp3
|
context-5_56.mp3
| 22,050 |
Ivy
|
He was the first to write ballades and scherzi as individual concert pieces.
|
He was the first to write ballades and scherzi as individual concert pieces.
|
question-5_56_1.mp3
| 22,050 |
Salli
|
Chopin was the first person to create what as singular concert pieces?
|
56d38fa059d6e41400146771
|
Frédéric_Chopin
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
|
What new genre di John Field invent?
|
{
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39
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2.84
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2.28
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"audio_segment_answer_end": [
2.84
],
"audio_segment_answer_start": [
2.28
],
"text": [
"nocturne"
]
}
|
context-5_56_0.mp3
|
context-5_56.mp3
| 22,050 |
Ivy
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication.
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication.
|
question-5_56_2.mp3
| 22,050 |
Kevin
|
What new genre di John Field invent?
|
56d38fa059d6e41400146772
|
Frédéric_Chopin
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
|
Chopin was first in writing what for concerts?
|
{
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155
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10.038027210884353
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8.958027210884353
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
2.31
],
"audio_segment_answer_start": [
1.23
],
"text": [
"ballades and scherzi"
]
}
|
context-5_56_1.mp3
|
context-5_56.mp3
| 22,050 |
Ivy
|
He was the first to write ballades and scherzi as individual concert pieces.
|
He was the first to write ballades and scherzi as individual concert pieces.
|
question-5_56_3.mp3
| 22,050 |
Amy
|
Chopin was first in writing what for concerts?
|
56d38fa059d6e41400146773
|
Frédéric_Chopin
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
|
What musical concept did Chopin exploit?
|
{
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370
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23.520090702947847
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22.480090702947848
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
3.96
],
"audio_segment_answer_start": [
2.92
],
"text": [
"concert étude"
]
}
|
context-5_56_4.mp3
|
context-5_56.mp3
| 22,050 |
Ivy
|
He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op.
|
He exploited the poetic potential of the concept of the concert etude, already being developed in the eighteen twentys and eighteen thirtys by Liszt, Clementi and Moscheles, in his two sets of studies (Op.
|
question-5_56_4.mp3
| 22,050 |
Joey
|
What musical concept did Chopin exploit?
|
56d38fa059d6e41400146774
|
Frédéric_Chopin
|
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
|
What three other musicians were developing the new genre?
|
{
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435
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29.69009070294785
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"audio_full_answer_start": [
27.190090702947845
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
10.13
],
"audio_segment_answer_start": [
7.63
],
"text": [
"Liszt, Clementi and Moscheles"
]
}
|
context-5_56_4.mp3
|
context-5_56.mp3
| 22,050 |
Ivy
|
He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op.
|
He exploited the poetic potential of the concept of the concert etude, already being developed in the eighteen twentys and eighteen thirtys by Liszt, Clementi and Moscheles, in his two sets of studies (Op.
|
question-5_56_5.mp3
| 22,050 |
Emma
|
What three other musicians were developing the new genre?
|
56cfee5d234ae51400d9c0f7
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
How many polonaises were published while Chopin lived?
|
{
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363
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22.73
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22.33
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
16.73
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"audio_segment_answer_start": [
16.33
],
"text": [
"seven"
]
}
|
context-5_57_1.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
question-5_57_0.mp3
| 22,050 |
Emma
|
How many polonaises were published while Chopin lived?
|
56cfee5d234ae51400d9c0f8
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
How many polonaises were published after Chopin died?
|
{
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415
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25.88
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25.54
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"audio_segment_answer_end": [
19.88
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"audio_segment_answer_start": [
19.54
],
"text": [
"nine"
]
}
|
context-5_57_1.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
question-5_57_1.mp3
| 22,050 |
Emma
|
How many polonaises were published after Chopin died?
|
56cfee5d234ae51400d9c0f9
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
Chopin was credited for making what more internationally known?
|
{
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96
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7.52
],
"audio_full_answer_start": [
6.79
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
1.52
],
"audio_segment_answer_start": [
0.79
],
"text": [
"mazurkas"
]
}
|
context-5_57_1.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
question-5_57_2.mp3
| 22,050 |
Ivy
|
Chopin was credited for making what more internationally known?
|
56cfee5d234ae51400d9c0fa
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
What is different about Chopin's waltzes versus a ballroom waltz?
|
{
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660
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42.55
],
"audio_full_answer_start": [
41.47
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
7.51
],
"audio_segment_answer_start": [
6.43
],
"text": [
"faster tempos"
]
}
|
context-5_57_3.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
question-5_57_3.mp3
| 22,050 |
Joey
|
What is different about Chopin's waltzes versus a ballroom waltz?
|
56d390b559d6e41400146789
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
What did Chopin add to the modern dance of his era?
|
{
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47
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5.93
],
"audio_full_answer_start": [
3.44
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5.93
],
"audio_segment_answer_start": [
3.44
],
"text": [
"greater range of melody and expression."
]
}
|
context-5_57_0.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin also endowed popular dance forms with a greater range of melody and expression.
|
Chopin also endowed popular dance forms with a greater range of melody and expression.
|
question-5_57_4.mp3
| 22,050 |
Joey
|
What did Chopin add to the modern dance of his era?
|
56d390b559d6e4140014678a
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
Chopin's Polish dance music was developed for what type of hall?
|
{
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243
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"audio_full_answer_end": [
15.6
],
"audio_full_answer_start": [
14.68
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.6
],
"audio_segment_answer_start": [
8.68
],
"text": [
"concert hall"
]
}
|
context-5_57_1.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
question-5_57_5.mp3
| 22,050 |
Kendra
|
Chopin's Polish dance music was developed for what type of hall?
|
56d390b559d6e4140014678b
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
What was Chopin responsible for making popular with Euorpeans?
|
{
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307
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19.15
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"audio_full_answer_start": [
18.509999999999998
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
13.15
],
"audio_segment_answer_start": [
12.51
],
"text": [
"the mazurka"
]
}
|
context-5_57_1.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
question-5_57_6.mp3
| 22,050 |
Justin
|
What was Chopin responsible for making popular with Euorpeans?
|
56d390b559d6e4140014678c
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
How many Chopin polonaises were published after his death?
|
{
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415
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25.88
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25.54
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19.88
],
"audio_segment_answer_start": [
19.54
],
"text": [
"nine"
]
}
|
context-5_57_1.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op.
|
question-5_57_7.mp3
| 22,050 |
Joanna
|
How many Chopin polonaises were published after his death?
|
56d390b559d6e4140014678d
|
Frédéric_Chopin
|
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
What dance music of Chopin was written more for recitals than ballrooms?
|
{
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545
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35.88
],
"audio_full_answer_start": [
35.37
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
0.84
],
"audio_segment_answer_start": [
0.33
],
"text": [
"waltzes"
]
}
|
context-5_57_3.mp3
|
context-5_57.mp3
| 22,050 |
Kendra
|
His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
|
question-5_57_8.mp3
| 22,050 |
Kendra
|
What dance music of Chopin was written more for recitals than ballrooms?
|
56cfef3c234ae51400d9c10d
|
Frédéric_Chopin
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
What is another title Op. 10, No. 12 has garnered?
|
{
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77
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5.28
],
"audio_full_answer_start": [
3.93
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3.15
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1.88
],
"audio_segment_answer_end": [
5.28
],
"audio_segment_answer_start": [
3.93
],
"text": [
"the Revolutionary Étude"
]
}
|
context-5_58_0.mp3
|
context-5_58.mp3
| 22,050 |
Matthew
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op.
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Etude (Op.
|
question-5_58_0.mp3
| 22,050 |
Joanna
|
What is another title Op. ten, No. twelve has garnered?
|
56cfef3c234ae51400d9c10e
|
Frédéric_Chopin
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
What is the only piece Chopin gave an actual title to?
|
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12.450045351473923
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11.660045351473922
],
"audio_segment_answer_end": [
2.43
],
"audio_segment_answer_start": [
1.63
],
"text": [
"Funeral March"
]
}
|
context-5_58_5.mp3
|
context-5_58.mp3
| 22,050 |
Matthew
|
However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others.
|
However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others.
|
question-5_58_1.mp3
| 22,050 |
Olivia
|
What is the only piece Chopin gave an actual title to?
|
56cfef3c234ae51400d9c10f
|
Frédéric_Chopin
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
The Funeral March was written as part of what piece?
|
{
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"audio_segment_answer_start": null,
"text": [
"Sonata No. 2"
]
}
| null | null | null | null | null | null | null | null | null | null |
56d3913859d6e41400146793
|
Frédéric_Chopin
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
How many instrumental works did Chopin give a descriptive name to?
|
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650
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37.62408163265306
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37.36408163265306
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36.72408163265306
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36.36408163265306
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1.36
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1.1
],
"text": [
"one"
]
}
|
context-5_58_9.mp3
|
context-5_58.mp3
| 22,050 |
Matthew
|
35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
thirty-five), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
question-5_58_3.mp3
| 22,050 |
Ivy
|
How many instrumental works did Chopin give a descriptive name to?
|
56d3913859d6e41400146795
|
Frédéric_Chopin
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
What descriptive name was Op. 10, No. 12 given?
|
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81
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5.28
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4.04
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3.15
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1.98
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5.28
],
"audio_segment_answer_start": [
4.04
],
"text": [
"Revolutionary Étude"
]
}
|
context-5_58_0.mp3
|
context-5_58.mp3
| 22,050 |
Matthew
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op.
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Etude (Op.
|
question-5_58_4.mp3
| 22,050 |
Brian
|
What descriptive name was Op. ten, No. twelve given?
|
56d3913859d6e41400146796
|
Frédéric_Chopin
|
Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.
|
What descriptive name was Op. 64, No. 1 given?
|
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127
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8.71
],
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"audio_segment_answer_end": [
1.75
],
"audio_segment_answer_start": [
0.9
],
"text": [
"Minute Waltz"
]
}
|
context-5_58_2.mp3
|
context-5_58.mp3
| 22,050 |
Matthew
|
12), and the Minute Waltz (Op.
|
twelve), and the Minute Waltz (Op.
|
question-5_58_5.mp3
| 22,050 |
Olivia
|
What descriptive name was Op. sixty-four, No. one given?
|
56cff00f234ae51400d9c113
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
What was the last number Chopin gave to an opus?
|
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50
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4.06
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3.13
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4.06
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"audio_segment_answer_start": [
3.13
],
"text": [
"65"
]
}
|
context-5_59_0.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor.
|
The last opus number that Chopin himself used was sixty-five, allocated to the Cello Sonata in G minor.
|
question-5_59_0.mp3
| 22,050 |
Joey
|
What was the last number Chopin gave to an opus?
|
56cff00f234ae51400d9c115
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
Who was Chopin's musical executor?
|
{
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259
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18.378027210884355
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17.328027210884354
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"audio_segment_answer_end": [
5.97
],
"audio_segment_answer_start": [
4.92
],
"text": [
"Julian Fontana"
]
}
|
context-5_59_2.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp.
|
At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected twenty-three unpublished piano pieces and grouped them into eight further opus numbers (Opp.
|
question-5_59_1.mp3
| 22,050 |
Brian
|
Who was Chopin's musical executor?
|
56cff00f234ae51400d9c116
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
How many unfinished pieces did Julian Fontana make into eight more opus numbers?
|
{
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283
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19.448027210884355
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18.878027210884355
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"audio_segment_answer_end": [
7.04
],
"audio_segment_answer_start": [
6.47
],
"text": [
"23"
]
}
|
context-5_59_2.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp.
|
At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected twenty-three unpublished piano pieces and grouped them into eight further opus numbers (Opp.
|
question-5_59_2.mp3
| 22,050 |
Kimberly
|
How many unfinished pieces did Julian Fontana make into eight more opus numbers?
|
56cff00f234ae51400d9c117
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
Op. 74 is made up of how many Polish songs?
|
{
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402
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30.330045351473924
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29.910045351473922
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
1.41
],
"audio_segment_answer_start": [
0.99
],
"text": [
"17"
]
}
|
context-5_59_4.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op.
|
In eighteen fifty-seven, seventeen Polish songs that Chopin wrote at various stages of his life were collected and published as Op.
|
question-5_59_3.mp3
| 22,050 |
Amy
|
Op. seventy-four is made up of how many Polish songs?
|
56d3929359d6e4140014679d
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
What is the last opus number that Chopin used?
|
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50
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4.06
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3.13
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4.06
],
"audio_segment_answer_start": [
3.13
],
"text": [
"65"
]
}
|
context-5_59_0.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor.
|
The last opus number that Chopin himself used was sixty-five, allocated to the Cello Sonata in G minor.
|
question-5_59_4.mp3
| 22,050 |
Kevin
|
What is the last opus number that Chopin used?
|
56d3929359d6e4140014679f
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?
|
{
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259
],
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18.378027210884355
],
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17.328027210884354
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5.97
],
"audio_segment_answer_start": [
4.92
],
"text": [
"Julian Fontana"
]
}
|
context-5_59_2.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp.
|
At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected twenty-three unpublished piano pieces and grouped them into eight further opus numbers (Opp.
|
question-5_59_5.mp3
| 22,050 |
Emma
|
Who grouped twenty-three unpublished pieces and published them as Opp. sixty-six-seventy-three in eighteen fifty-five?
|
56d3929359d6e414001467a1
|
Frédéric_Chopin
|
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
|
When was Op. 74 published?
|
{
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396
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30.330045351473924
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29.180045351473925
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1.41
],
"audio_segment_answer_start": [
0.26
],
"text": [
"1857"
]
}
|
context-5_59_4.mp3
|
context-5_59.mp3
| 22,050 |
Brian
|
In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op.
|
In eighteen fifty-seven, seventeen Polish songs that Chopin wrote at various stages of his life were collected and published as Op.
|
question-5_59_6.mp3
| 22,050 |
Emma
|
When was Op. seventy-four published?
|
56cff0c3234ae51400d9c123
|
Frédéric_Chopin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
The Kobylańska Catalogue was named for who?
|
{
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285
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18.97
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16.95
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"audio_segment_answer_end": [
12.37
],
"audio_segment_answer_start": [
10.35
],
"text": [
"Krystyna Kobylańska"
]
}
|
context-5_60_1.mp3
|
context-5_60.mp3
| 22,050 |
Justin
|
The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
The present standard musicological reference for Chopin's works is the Kobylanska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylanska.
|
question-5_60_0.mp3
| 22,050 |
Matthew
|
The Kobylanska Catalogue was named for who?
|
56cff0c3234ae51400d9c124
|
Frédéric_Chopin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
Pieces published after what year stopped receiving opus numbers?
|
{
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22
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2.27
],
"audio_full_answer_start": [
1.1
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
2.27
],
"audio_segment_answer_start": [
1.1
],
"text": [
"1857"
]
}
|
context-5_60_0.mp3
|
context-5_60.mp3
| 22,050 |
Justin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers.
|
Works published since eighteen fifty-seven have received alternative catalogue designations instead of opus numbers.
|
question-5_60_1.mp3
| 22,050 |
Ivy
|
Pieces published after what year stopped receiving opus numbers?
|
56d3946659d6e414001467af
|
Frédéric_Chopin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
What have pieces published after 1857 been given rather than opus numbers?
|
{
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41
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4.96
],
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2.96
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
4.96
],
"audio_segment_answer_start": [
2.96
],
"text": [
"alternative catalogue designations"
]
}
|
context-5_60_0.mp3
|
context-5_60.mp3
| 22,050 |
Justin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers.
|
Works published since eighteen fifty-seven have received alternative catalogue designations instead of opus numbers.
|
question-5_60_2.mp3
| 22,050 |
Amy
|
What have pieces published after eighteen fifty-seven been given rather than opus numbers?
|
56d3946659d6e414001467b0
|
Frédéric_Chopin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
What is the current musicologist reference for Chopin's pieces?
|
{
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168
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11.61
],
"audio_full_answer_start": [
10.18
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
5.01
],
"audio_segment_answer_start": [
3.58
],
"text": [
"the Kobylańska Catalogue"
]
}
|
context-5_60_1.mp3
|
context-5_60.mp3
| 22,050 |
Justin
|
The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
The present standard musicological reference for Chopin's works is the Kobylanska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylanska.
|
question-5_60_3.mp3
| 22,050 |
Joanna
|
What is the current musicologist reference for Chopin's pieces?
|
56d3946659d6e414001467b1
|
Frédéric_Chopin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
What is the shortened reference for the Kobylańska Catalogue?
|
{
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231
],
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14.07
],
"audio_full_answer_start": [
13.629999999999999
],
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
7.47
],
"audio_segment_answer_start": [
7.03
],
"text": [
"KK"
]
}
|
context-5_60_1.mp3
|
context-5_60.mp3
| 22,050 |
Justin
|
The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
The present standard musicological reference for Chopin's works is the Kobylanska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylanska.
|
question-5_60_4.mp3
| 22,050 |
Kevin
|
What is the shortened reference for the Kobylanska Catalogue?
|
56d3946659d6e414001467b2
|
Frédéric_Chopin
|
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
Who compiled the Kobylańska Catalogue?
|
{
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285
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18.97
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16.95
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12.37
],
"audio_segment_answer_start": [
10.35
],
"text": [
"Krystyna Kobylańska."
]
}
|
context-5_60_1.mp3
|
context-5_60.mp3
| 22,050 |
Justin
|
The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
|
The present standard musicological reference for Chopin's works is the Kobylanska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylanska.
|
question-5_60_5.mp3
| 22,050 |
Emma
|
Who compiled the Kobylanska Catalogue?
|
56cff179234ae51400d9c131
|
Frédéric_Chopin
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Who released the first collection of Chopin's works?
|
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|
context-5_61_2.mp3
|
context-5_61.mp3
| 22,050 |
Salli
|
The first collected edition was by Breitkopf & Härtel (1878–1902).
|
The first collected edition was by Breitkopf & Hartel (eighteen seventy-eight-nineteen oh two).
|
question-5_61_0.mp3
| 22,050 |
Emma
|
Who released the first collection of Chopin's works?
|
56cff179234ae51400d9c133
|
Frédéric_Chopin
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Who edited the Polish "National Edition" of Chopin's works?
|
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"Jan Ekier"
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}
|
context-5_61_3.mp3
|
context-5_61.mp3
| 22,050 |
Salli
|
Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between nineteen thirty-seven and nineteen sixty-six and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
question-5_61_1.mp3
| 22,050 |
Matthew
|
Who edited the Polish "National Edition" of Chopin's works?
|
56d3971459d6e414001467cd
|
Frédéric_Chopin
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Maurice Schlesinger and Camille Pleyel were what to Chopin?
|
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"original publishers"
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|
context-5_61_0.mp3
|
context-5_61.mp3
| 22,050 |
Salli
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel.
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel.
|
question-5_61_2.mp3
| 22,050 |
Matthew
|
Maurice Schlesinger and Camille Pleyel were what to Chopin?
|
56d3971459d6e414001467ce
|
Frédéric_Chopin
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Where did Chopin's work start t oshow up?
|
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"text": [
"popular 19th-century piano anthologies."
]
}
|
context-5_61_1.mp3
|
context-5_61.mp3
| 22,050 |
Salli
|
His works soon began to appear in popular 19th-century piano anthologies.
|
His works soon began to appear in popular nineteenth-century piano anthologies.
|
question-5_61_3.mp3
| 22,050 |
Salli
|
Where did Chopin's work start t oshow up?
|
56d3971459d6e414001467cf
|
Frédéric_Chopin
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
What was the name under scholarly publications of Chopin's work form 1937 to 1966?
|
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4.52
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"text": [
"Paderewski"
]
}
|
context-5_61_3.mp3
|
context-5_61.mp3
| 22,050 |
Salli
|
Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between nineteen thirty-seven and nineteen sixty-six and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
question-5_61_4.mp3
| 22,050 |
Emma
|
What was the name under scholarly publications of Chopin's work form nineteen thirty-seven to nineteen sixty-six?
|
56d3971459d6e414001467d0
|
Frédéric_Chopin
|
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Who edited the Polish National Edition?
|
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28.288072562358277
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12.52
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11.64
],
"text": [
"Jan Ekier"
]
}
|
context-5_61_3.mp3
|
context-5_61.mp3
| 22,050 |
Salli
|
Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between nineteen thirty-seven and nineteen sixty-six and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
|
question-5_61_5.mp3
| 22,050 |
Kendra
|
Who edited the Polish National Edition?
|
56cff256234ae51400d9c145
|
Frédéric_Chopin
|
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
What is central to Chopin's process?
|
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|
context-5_62_0.mp3
|
context-5_62.mp3
| 22,050 |
Amy
|
Improvisation stands at the centre of Chopin's creative processes.
|
Improvisation stands at the centre of Chopin's creative processes.
|
question-5_62_0.mp3
| 22,050 |
Kevin
|
What is central to Chopin's process?
|
56cff256234ae51400d9c146
|
Frédéric_Chopin
|
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
|
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25.61
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24.41
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"text": [
"the four-bar phrase"
]
}
|
context-5_62_3.mp3
|
context-5_62.mp3
| 22,050 |
Amy
|
After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
After the piano concertos (which are both early, dating from eighteen thirty), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
question-5_62_1.mp3
| 22,050 |
Ivy
|
Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
|
56d398a859d6e414001467e5
|
Frédéric_Chopin
|
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
What is central to Chopin's creativeness?
|
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|
context-5_62_0.mp3
|
context-5_62.mp3
| 22,050 |
Amy
|
Improvisation stands at the centre of Chopin's creative processes.
|
Improvisation stands at the centre of Chopin's creative processes.
|
question-5_62_2.mp3
| 22,050 |
Salli
|
What is central to Chopin's creativeness?
|
56d398a859d6e414001467e6
|
Frédéric_Chopin
|
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
Who wrote that "improvisation is designed for an audience"?
|
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4.17
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3.22
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"text": [
"Nicholas Temperley"
]
}
|
context-5_62_1.mp3
|
context-5_62.mp3
| 22,050 |
Amy
|
However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ...
|
However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ...
|
question-5_62_3.mp3
| 22,050 |
Kevin
|
Who wrote that "improvisation is designed for an audience"?
|
56d398a859d6e414001467e7
|
Frédéric_Chopin
|
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
What did Rosen suggest was important about chopin's personality?
|
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"his flexible handling of the four-bar phrase as a structural unit."
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|
context-5_62_3.mp3
|
context-5_62.mp3
| 22,050 |
Amy
|
After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
After the piano concertos (which are both early, dating from eighteen thirty), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
|
question-5_62_4.mp3
| 22,050 |
Emma
|
What did Rosen suggest was important about chopin's personality?
|
56cff2e0234ae51400d9c14b
|
Frédéric_Chopin
|
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
|
What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?
|
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"the Barcarolle Op. 60"
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| null | null | null | null | null | null | null | null | null | null |
56d3997e59d6e414001467ed
|
Frédéric_Chopin
|
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
|
What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?
|
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"text": [
"the four ballades and four scherzos"
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|
context-5_63_0.mp3
|
context-5_63.mp3
| 22,050 |
Brian
|
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op.
|
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op.
|
question-5_63_1.mp3
| 22,050 |
Joanna
|
What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?
|
56d3997e59d6e414001467ef
|
Frédéric_Chopin
|
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
|
What form does Temperley feel that Chopin's ballades and scherzos are based on?
|
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15.84
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"text": [
"departure and return"
]
}
|
context-5_63_1.mp3
|
context-5_63.mp3
| 22,050 |
Brian
|
60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
|
sixty stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
|
question-5_63_2.mp3
| 22,050 |
Justin
|
What form does Temperley feel that Chopin's ballades and scherzos are based on?
|
56cff351234ae51400d9c14d
|
Frédéric_Chopin
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
|
Chopin's mazurkas contain more of what than his other compositions?
|
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|
context-5_64_1.mp3
|
context-5_64.mp3
| 22,050 |
Joanna
|
The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses.
|
The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses.
|
question-5_64_0.mp3
| 22,050 |
Salli
|
Chopin's mazurkas contain more of what than his other compositions?
|
56d39a6a59d6e414001467f3
|
Frédéric_Chopin
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
|
What form are Chopin's mazurkas and waltzes in?
|
{
"answer_start": [
41
],
"audio_full_answer_end": [
6.12
],
"audio_full_answer_start": [
2.33
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
6.12
],
"audio_segment_answer_start": [
2.33
],
"text": [
"straightforward ternary or episodic form, sometimes with a coda."
]
}
|
context-5_64_0.mp3
|
context-5_64.mp3
| 22,050 |
Joanna
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda.
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda.
|
question-5_64_1.mp3
| 22,050 |
Olivia
|
What form are Chopin's mazurkas and waltzes in?
|
56d39a6a59d6e414001467f4
|
Frédéric_Chopin
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
|
Which of Chopin's works shows more folk aspects?
|
{
"answer_start": [
9
],
"audio_full_answer_end": [
1.21
],
"audio_full_answer_start": [
0.7
],
"audio_full_neg_answer_end": [
0.74
],
"audio_full_neg_answer_start": [
0.22
],
"audio_segment_answer_end": [
1.21
],
"audio_segment_answer_start": [
0.7
],
"text": [
"mazurkas"
]
}
|
context-5_64_0.mp3
|
context-5_64.mp3
| 22,050 |
Joanna
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda.
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda.
|
question-5_64_2.mp3
| 22,050 |
Emma
|
Which of Chopin's works shows more folk aspects?
|
56d39a6a59d6e414001467f5
|
Frédéric_Chopin
|
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
|
What type of bass do Chopin's mazurkas exhibit?
|
{
"answer_start": [
241
],
"audio_full_answer_end": [
13.938027210884353
],
"audio_full_answer_start": [
13.058027210884354
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
7.77
],
"audio_segment_answer_start": [
6.89
],
"text": [
"drone bass"
]
}
|
context-5_64_1.mp3
|
context-5_64.mp3
| 22,050 |
Joanna
|
The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses.
|
The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses.
|
question-5_64_3.mp3
| 22,050 |
Justin
|
What type of bass do Chopin's mazurkas exhibit?
|
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