Divyanshu67/squad_v2 huggingface dataset:
Classical_music

In 2013, an article in Mother Jones stated that while "[m]any prestigious orchestras have significant female membership—women outnumber men in the New York Philharmonic's violin section—and several renowned ensembles, including the National Symphony Orchestra, the Detroit Symphony, and the Minnesota Symphony, are led by women violinists", the double bass, brass, and percussion sections of major orchestras "...are still predominantly male." A 2014 BBC article stated that the "...introduction of 'blind' auditions, where a prospective instrumentalist performs behind a screen so that the judging panel can exercise no gender or racial prejudice, has seen the gender balance of traditionally male-dominated symphony orchestras gradually shift."

Question: The National Symphony Orchestra is led by what gender of violinist?
Answer: female

Question: The double bass, brass and percussion sections are predominately what gender?
Answer: male

Question: What type of audition are expected to eliminator gender or racial prejudice?
Answer: 'blind' auditions

Question: In what section of the New York Philharmonic do women outnumber men?
Answer: violin
Classical_music

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.

Question: Works of classical repertoire exhibit what in their use of orchestration and harmony, and form?
Answer: complexity

Question: What is usually written in song forms?
Answer: popular styles

Question: The concerto, symphony, sonata and opera are examples of what type of musical forms?
Answer: sophisticated
Classical_music

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into four movements: (1) an opening Allegro in sonata form, (2) a slow movement, (3) a minuet or scherzo, and (4) a final Allegro. These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

Question: What are self-contained pieces in longer works called?
Answer: movements

Question: How many movements are symphonies written in the Classical period usually divided into?
Answer: four

Question: What, typically, is the speed of the second movement in a classical piece?
Answer: slow

Question: A movement broken up further is called what?
Answer: sections

Question: The final movement of a classical piece is usually called what?
Answer: Allegro
Classical_music

The major time divisions of classical music up to 1900 are the early music period, which includes Medieval (500–1400) and Renaissance (1400–1600) eras, and the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. Since 1900, classical periods have been reckoned more by calendar century than by particular stylistic movements that have become fragmented and difficult to define. The 20th century calendar period (1901–2000) includes most of the early modern musical era (1890–1930), the entire high modern (mid 20th-century), and the first 25 years of the contemporary or postmodern musical era (1975–current). The 21st century has so far been characterized by a continuation of the contemporary/postmodern musical era.

Question: What period was from 500-1400?
Answer: Medieval

Question: What years dictate the Baroque period?
Answer: 1600–1750

Question: How have periods been reckoned Since 1900?
Answer: by calendar century

Question: What era has the 21st century has been characterized by?
Answer: the contemporary/postmodern musical era

Question: The years 1804-1910 marked what era?
Answer: Romantic
Classical_music

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

Question: What composer continued the counterpoint and fugue?
Answer: Haydn

Question: Haydn is classified as typical of what era?
Answer: Classical

Question: Who is described as a founder of the Romantic era?
Answer: Beethoven

Question: Who is classified as Romantic, but also uses counterpoint and fugue?
Answer: Brahms

Question: Some authorities reverse terminologies to refer to the common practice period as a what?
Answer: era
Classical_music

The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

Question: A Contemporary composition written in the style of an earlier era is described with what prefix?
Answer: neo

Question: What century were Neoclassical compositions written in?
Answer: 20th-century

Question: Who wrote Pulcinella?
Answer: Stravinsky's

Question: What era is Pulcinella similar to?
Answer: Classical
Classical_music

Burgh (2006), suggests that the roots of Western classical music ultimately lie in ancient Egyptian art music via cheironomy and the ancient Egyptian orchestra, which dates to 2695 BC. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as the aulos (a reed instrument) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra. The antecedent to the early period was the era of ancient music before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from ancient Greece.

Question: When does the Egyptian orchestra date to?
Answer: 2695 BC

Question: Who suggested that Western classical music is rooted to ancient Egyptian art music?
Answer: Burgh

Question: What music followed ancient Egyptian art music?
Answer: early Christian liturgical music,

Question: Which ancient society developed individual tones and scales?
Answer: ancient Greeks

Question: Who helped codify musical notation?
Answer: Pythagoras
Classical_music

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100. Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets.

Question: The Medieval period begins with the fall of what city?
Answer: Rome

Question: What can Plainsong or Gregorian chant also be called?
Answer: Monophonic chant

Question: What does Polyphonic mean? 
Answer: multi-voiced

Question: When did Monophonic chant stop being the dominant form?
Answer: 1100

Question: Polyphonic music included more complex voicing of what?
Answer: motets
Classical_music

The Renaissance era was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize.

Question: When was the Renaissance era?
Answer: from 1400 to 1600

Question: What era was from 1400 to 1600? 
Answer: Renaissance

Question: The use of the first ass instruments occurred in what era?
Answer: Renaissance

Question: What became widespread in the Renaissance era?
Answer: Social dancing

Question: Musical forms for dance began to standardize during what era?
Answer: Renaissance
Classical_music

It is in this time that the notation of music on a staff and other elements of musical notation began to take shape. This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

Question: The notation of music on a what began to take shape at this time?
Answer: staff

Question: How was music transmitted before the invention of musical notation?
Answer: oral

Question: What was oral music subject to every time is was transmitted?
Answer: change

Question: What can a musical scored be performed without?
Answer: the composer's presence

Question: When was the movable-type printing press invented?
Answer: the 15th century
Classical_music

Typical stringed instruments of the early period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm (an early member of the oboe family), trumpet, and the bagpipes. Simple pipe organs existed, but were largely confined to churches, although there were portable varieties. Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

Question: The record is part of what wind family?
Answer: the flute family

Question: The sahwm was an early family member of what instrument?
Answer: the oboe

Question: Where were the first pipe organs confined to?
Answer: churches

Question: When had the viol emerged by?
Answer: the 16th century

Question: What enabled descriptions and specification of instruments?
Answer: Printing
Classical_music

The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

Question: When did many of the ideas that make up western classical music take shape?
Answer: The common practice period

Question: What began with the Baroque era?
Answer: The common practice period

Question: What era did the classical era follow?
Answer: Baroque era

Question: When did the classical era end?
Answer: around 1820

Question: When did the romantic era end?
Answer: about 1910
Classical_music

Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a continuous bass line. Music became more complex in comparison with the songs of earlier periods. The beginnings of the sonata form took shape in the canzona, as did a more formalized notion of theme and variations. The tonalities of major and minor as means for managing dissonance and chromaticism in music took full shape.

Question: Basso continuo and complex tonal counterpoint characterize what type of music? 
Answer: Baroque

Question: What does basso continuo mean? 
Answer: a continuous bass line

Question: What did music become during the Baroque era  in comparison with earlier periods?
Answer: more complex

Question: What form began to take shape during the Baroque era? 
Answer: the sonata form

Question: Major and minor what are means for managing dissonance and chromaticism?
Answer: tonalities
Classical_music

During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to differentiate itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common. Vocalists began adding embellishments to melodies. Instrumental ensembles began to distinguish and standardize by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple.

Question: Keyboard music became popular during what era?
Answer: Baroque

Question: The violin family is what type of instrument?
Answer: stringed

Question: Opera began to differentiate itself from earlier forms as what?
Answer: staged musical drama

Question: What became more common during the Baroque era?
Answer: vocal forms

Question: What did vocalist add to melodies beginning in the Baroque era?
Answer: embellishments
Classical_music

The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier.

Question: What theories began to be put in wider practice?
Answer: equal temperament

Question: What does equal temperament enabled in hard to tune keyboard instruments?
Answer: a wider range of chromatic possibilities

Question: What did Bach not use?
Answer: equal temperament

Question: A modern piano is generally what?
Answer: tuned

Question: What system of temperaments was common during Bach's time?
Answer: meantone
Classical_music

The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8 to 10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).

Question: When was the Classical era?
Answer: 1750 to 1820

Question: What instrument became the predominant keyboard during the classical era?
Answer: the piano

Question: What became more standardized during the classical era?
Answer: The basic forces required for an orchestra

Question: How many muscians, at most, could make up a chamber ensemble during the classical period?
Answer: 10

Question: What is an opera buffa?
Answer: a form of comic opera
Classical_music

Wind instruments became more refined in the Classical era. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.

Question: What type of instrument became more refined during the classical era?
Answer: Wind

Question: What is the single reed family called?
Answer: the clarinet family

Question: What type of instrument was somewhat standardized int eh Baroque era?
Answer: double reeded

Question: Who expanded the single reeds role?
Answer: Mozart
Classical_music

The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle.

Question: Increased attention to extended melodic lines characterized what era?
Answer: Romantic

Question: When did the Romantic era end?
Answer: the early 20th century

Question: Free-form pieces like nocturnes and preludes were a break from what era?
Answer: Classical

Question: Tensions about what increased during the Romantic era?
Answer: key signatures

Question: What is a name for an art song?
Answer: Lied
Classical_music

In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.

Question: Who controlled musical institutions before the 19th century?
Answer: wealthy patrons

Question: Composers and musicians began to construct lives independent of what in the 19th century?
Answer: the nobility

Question: What class increased it's interest in music during the 19th century?
Answer: middle classes

Question: What instrument became widely popular in the middle class in the 19th century?
Answer: The piano

Question: The 19th century marks the foundation of many what?
Answer: symphony orchestras
Classical_music

The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400.

Question: To what number did the size of the orchestra grow to?
Answer: 100

Question: What size of choirs have performed Gustav Mahler's 1906 Symphony No. 8?
Answer: over 400

Question: What size orchestras have performed Gustav Mahler's 1906 Symphony No. 8?
Answer: over 150

Question: What allowed Brass instruments to play a wider range of notes?
Answer: rotary valves

Question: What array of instrument grew wider?
Answer: percussion
Classical_music

European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.

Question: What did European cultural ideas follow?
Answer: colonial expansion

Question: What type of music rose toward the end of the era?
Answer: nationalism

Question: What did nationalism in music sometime echo?
Answer: political sentiments of the time

Question: Edvard Grieg and Antonin Dvorak used what kind of music in their compositions?
Answer: traditional music of their homelands
Classical_music

Encompassing a wide variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century.

Question: What style does 20th century classical music encompass?
Answer: post-Romantic

Question: When did modernism take place?
Answer: 1890–1930

Question: Composers rejected the traditions of the common practice period during what era?
Answer: Modernism

Question: Neo-classical music emerged during what era?
Answer: high-modern era

Question: Postmodern music is also know as what?
Answer: contemporary music
Classical_music

Almost all of the composers who are described in music textbooks on classical music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann  [sic] is one of the only  [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."

Question: What gender are most composers described in music textbooks?
Answer: male

Question: Who asked why is music composed by women so marginal to the standard 'classical' repertoire?
Answer: Musicologist Marcia Citron

Question: Why were women composers deemed not notable?
Answer: did not write many symphonies

Question: Who is one of the only female composers mentioned?
Answer: Clara Shumann

Question: What type of music did women composers typically write?
Answer: art songs
Classical_music

The modernist views hold that classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work.

Question: What type of view is that classical music is primarily written musical tradition?
Answer: modernist

Question: Musical notation is effective for what?
Answer: transmitting classical music

Question: Why is written musical notation effective? 
Answer: contains the technical instructions for performing the work
Classical_music

In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work.

Question: Did student who actively listen to classical music before studying have higher or lower scores?
Answer: higher

Question: What happened to the scores of students who listened to rock and roll or country?
Answer: moderately lower

Question: Who experience a significant leap in their academic performance?
Answer: students who used classical during the course of study

Question: Who conducted the research study?
Answer: University of Colorado

Question: What years was the study conducted in?
Answer: 1996–1997
Classical_music

During the 1990s, several research papers and popular books wrote on what came to be called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs."

Question: Which composer had an effect named after him?
Answer: Mozart

Question: Who wrote a book on the Mozart effect?
Answer: Don Campbell

Question: Where was the experiment originally published?
Answer: Nature

Question: How many IQ points of a students' does the Mozart effect temporarily boost?
Answer: 8 to 9 points

Question: How much did the Governor of Georgia budget per year to provide every child with a CD of classical music?
Answer: $105,000
Classical_music

Several works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?.

Question: Works from the Golden Age of music matches action to what?
Answer: classical music

Question: Who produced Fantasia?
Answer: Walt Disney

Question: Who starred in Johann Mouse?
Answer: Tom and Jerry

Question: Who produced Rabbit of Seville?
Answer: Warner Bros

Question: Who produced What's Opera, Doc?
Answer: Warner Bros
Classical_music

Similarly, movies and television often revert to standard, clichéd snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture.

Question: What does classical music convey in movies and television?
Answer: refinement or opulence

Question: What piece by Vivaldi is used as a cliche to convey opulence?
Answer: Four Seasons

Question: What piece by Mozart is used as a cliche to convey refinement?
Answer: Eine kleine Nachtmusik

Question: Who wrote William Tell Overture?
Answer: Rossini

Question: Who wrote Night on Bald Mountain?
Answer: Mussorgsky
Classical_music

The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices.

Question: What does the written score not usually contain explicitly? 
Answer: instructions

Question: Interpretations of written score is left to whom?
Answer: performers

Question: Performers can use their knowledge of what to help interpret a written score?
Answer: the work's idiom
Classical_music

Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score).

Question: Improvisation is integral before what took a high significance?
Answer: the score

Question: When did oral tradition disappear?
Answer: the 20th century

Question: There is still controversy about how to perform works, even though scores provide what?
Answer: key elements of the music

Question: A score-centric approach strictly emphasizes what?
Answer: block-rhythms
Classical_music

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

Question: What once played an important role in classical music?
Answer: Improvisation

Question: Where can a remnant of improvisation tradition be found?
Answer: cadenza

Question: What can solo performers exhibit during a cadenza?
Answer: their virtuoso skills on the instrument

Question: What type of performances of Baroque ear Operas require improvisation?
Answer: authentic performances

Question: An example of improvisation in an opera is Beverly Sills variation of what movement of Handel's Giulio Cesare?
Answer: Da tempeste il legno infranto
Classical_music

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

Question: How are staples of classical music often used?
Answer: commercially

Question: TV commercials using Richard Strauss' Also sprach Zarathustra have now become what?
Answer: clichéd

Question: What piece is often used in the horror genre?
Answer: "O Fortuna" of Carl Orff's Carmina Burana

Question: Who wrote Ride of the Valkyries?
Answer: Wagner

Question: Who wrote in the Hall of the Mountain King?
Answer: Edvard Grieg
Classical_music

Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Question: Folk musicians are not commonly what?
Answer: classically trained

Question: What music comes from those commonly trained by oral tradition?
Answer: folk music

Question: Dovrak has used what type of themes to impart a nationalist flavor?
Answer: folk

Question: Who used specific themes lifted from folk-music?
Answer: Bartók
Classical_music

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Question: How are performers expected to play a work due to written transmission?
Answer: in a way that realizes in detail the original intentions of the composer

Question: When did details that composers put in their scores increase?
Answer: the 19th century

Question: Admiration of performers for new interpretations can be seen when composers feel the performer achieve what?
Answer: a better realization of the original intent than the composer

Question: What do classical performers often achieve?
Answer: high reputations for their musicianship
Classical_music

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Question: When was improvisation in classical music performance common?
Answer: the Baroque and early romantic eras

Question: When did improvisation begin to lessened strongly?
Answer: the second half of the 19th and in the 20th centuries

Question: What part did Mozart and Beethoven often improvise?
Answer: the cadenzas to their piano concertos

Question: What is the name for the practice of singing strictly by the score in opera?
Answer: come scritto

Question: Who strongly supposed ome scritto?
Answer: soprano Maria Callas
Classical_music

Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Question: Popular music from the composer's time was incorporation into what?
Answer: Classical music

Question: What did Brahms sometimes use in his Academic Festival Overture?
Answer: student drinking songs

Question: What type of music was Maurice Ravel influenced by?
Answer: jazz

Question: Who wrote The Threepenny Opera?
Answer: Kurt Weill

Question: What type of music do certain composers acknowledge a debt to?
Answer: popular
Classical_music

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Question: Pachelbel's Canon has influenced popular songs since what decade?
Answer: the 1970s

Question: What phenomenon sees classical musicians achieving success in popular music?
Answer: the musical crossover phenomenon

Question: Baroque or Classical era influence can be seen in what modern musical style?
Answer: heavy metal

Question: Ritchie Blackmore and Randy Rhoads play what instrument?
Answer: electric guitar
Slavs

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.

Question: What is the largest Indo-European ethno-linguistic group in Europe?
Answer: Slavs are the largest Indo-European ethno-linguistic group in Europe.

Question: What areas of the world do Slavs inhabit?
Answer: They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia.

Question: What was colonised by the East Slavs?
Answer: The East Slavs colonised Siberia and Central Asia.

Question: What portion of Europe's territory is inhabited by Slavic-speaking communities?
Answer: Presently over half of Europe's territory is inhabited by Slavic-speaking communities

Question: Slavic mercenaries settled where?
Answer: Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria.

Question: What is the largest ethno group in North Asia?

Question: Who fought against the Byzantines?

Question: What did Slavic mercenaries colonise?

Question: Who colonised the Arabs?

Question: What percentage of Central Asia is inhabited by Slavic-speaking communities?
Slavs

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Question: West Slavic people consist of which nationalities?
Answer: Poles, Czechs and Slovaks

Question: East Slavic people consist of which nationalities?
Answer: Russians, Belarusians, and Ukrainians

Question: South Slavic people consist of which nationalities?
Answer: Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins

Question: West and East Slavs are sometimes combined into a single group called what?
Answer: North Slavs

Question: North Slavs are made up of South slavs and what other slav?

Question: The single group of South slavs are made up of which two other groups?

Question: What forms of diversity are lost in modern nations?

Question: Who always has a sense of hostility?
Slavs

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.

Question: *Slověninъ, plural *Slověne, is the Slavic autonym reconstructed in what?
Answer: Proto-Slavic

Question: Old 9th century documents describing Slavs were written in what language?
Answer: Old Church Slavonic

Question: Who wrote about the Slavs in Byzantine Greek in the 6th century?
Answer: Procopius

Question: Procopius' contemporary Jordanes referred to the Slavs in what language?
Answer: Latin

Question: What is the plural form of Slavic?

Question: What writer wrote in Old Church Slavonic?

Question: During what century were Slavics referred to as "an East Slavic group near Novgorod"?

Question: When did Procopius write in Latin about the Sclaveni?
Slavs

The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").

Question: What slavic word denotes "people who speak the same language?"
Answer: slovo

Question: What slavic word denotes "foreign people?"
Answer: němci

Question: Who considered *Slověninъ do be a derivation from slovo?
Answer: Roman Jakobson

Question: Who came up with the Slavic autonym?

Question: What does slovo derive from?

Question: What word did Roman Jakobson use to call Slavics foreign people?

Question: What word did Jackobson use to mean mute?
Slavs

The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.

Question: Slovo, slava, and slukh all originate from what Proto-Indo-European root?
Answer: *ḱlew

Question: The Ancient Greek κλῆς (klês - "famous") helped create what famous name?
Answer: Pericles

Question: What three words originated from the Proto-Indo-European root *ḱlew- ("be spoken of, fame")?
Answer: he word slovo ("word") and the related slava ("fame") and slukh ("hearing")

Question: What does the Latin word "klew" mean?

Question: What is the Latin word for famous?

Question: What does the word "klew" originate from?

Question: What type of root word is Pericles?

Question: What Slavic word means "loud"?
Slavs

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

Question: The word Slav could be derived from what Middle English word?
Answer: sclave

Question: The origin of what Byzantine term is disputed?
Answer: Sklavinoi

Question: The Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from what?
Answer: misunderstanding of the Slavic autonym

Question: The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba by who?
Answer: medieval Arab historiographers

Question: What English word does "sclave" come from?

Question: What Latin word was a misunderstanding?

Question: What word was loaned from Arabic?

Question: Who disputes the origin of the word Saqaliba?

Question: What nationality borrowed the word "Saqaliba"?
Slavs

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Question: Who argues that the word *slava once had the meaning of worshipper?
Answer: Lozinski

Question: Who speculates that *slava derives from a reconstructed Proto-Indo-European *(s)lawos?
Answer: S.B. Bernstein

Question: The suffix -enin indicates what?
Answer: a man from a certain place

Question: Who argued that the Old East Slavic Slavuta for the Dnieper River was derived from slova?
Answer: Henrich Bartek

Question: Who said slava evolved from an ethnonym?

Question: What was the name of the scholar that suggested Slova could be a river name?

Question: When was SB Bernstein born?

Question: When did Bartek argue the Dnieper River was the origin of Slovene?

Question: What suffix indicates a river name?