Divyanshu67/squad_v2 huggingface dataset:
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.

Question: What is another title Op. 10, No. 12 has garnered? 
Answer: the Revolutionary Étude

Question: What is the only piece Chopin gave an actual title to?
Answer: Funeral March

Question: The Funeral March was written as part of what piece?
Answer: Sonata No. 2

Question: How many instrumental works did Chopin give a descriptive name to?
Answer: one

Question: What descriptive name was Op. 10, No. 12 given?
Answer: Revolutionary Étude

Question: What descriptive name was Op. 64, No. 1 given?
Answer: Minute Waltz
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 He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855.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.

Question: What was the last number Chopin gave to an opus?
Answer: 65

Question: Who was Chopin's musical executor?
Answer: Julian Fontana

Question: How many unfinished pieces did Julian Fontana make into eight more opus numbers?
Answer: 23

Question: Op. 74 is made up of how many Polish songs?
Answer: 17

Question: What is the last opus number that Chopin used?
Answer: 65

Question: Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?
Answer: Julian Fontana

Question: When was Op. 74 published?
Answer: 1857
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.

Question: The Kobylańska Catalogue was named for who?
Answer: Krystyna Kobylańska

Question: Pieces published after what year stopped receiving opus numbers?
Answer: 1857

Question: What have pieces published after 1857 been given rather than opus numbers?
Answer: alternative catalogue designations

Question: What is the current musicologist reference for Chopin's pieces?
Answer: the Kobylańska Catalogue

Question: What is the shortened reference for the Kobylańska Catalogue?
Answer: KK

Question: Who compiled the Kobylańska Catalogue?
Answer: Krystyna Kobylańska.
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.

Question: Who released the first collection of Chopin's works?
Answer: Breitkopf & Härtel

Question: Who edited the Polish "National Edition" of Chopin's works?
Answer: Jan Ekier

Question: Maurice Schlesinger and Camille Pleyel were what to Chopin?
Answer: original publishers

Question: Where did Chopin's work start t oshow up?
Answer: popular 19th-century piano anthologies.

Question: What was the name under scholarly publications of Chopin's work form 1937 to 1966?
Answer: Paderewski

Question: Who edited the Polish National Edition?
Answer: Jan Ekier
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.

Question: What is central to Chopin's process?
Answer: Improvisation

Question: Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
Answer: the four-bar phrase

Question: What is central to Chopin's creativeness?
Answer: Improvisation

Question: Who wrote that "improvisation is designed for an audience"?
Answer: Nicholas Temperley

Question: What did Rosen suggest was important about chopin's personality?
Answer: his flexible handling of the four-bar phrase as a structural unit.
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."

Question: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?
Answer: the Barcarolle Op. 60

Question: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?
Answer: the four ballades and four scherzos

Question: What form does Temperley feel that Chopin's ballades and scherzos are based on?
Answer: departure and return
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.

Question: Chopin's mazurkas contain more of what than his other compositions? 
Answer: folk features

Question: What form are Chopin's mazurkas and waltzes in?
Answer: straightforward ternary or episodic form, sometimes with a coda.

Question: Which of Chopin's works shows more folk aspects?
Answer: mazurkas

Question: What type of bass do Chopin's mazurkas exhibit?
Answer: drone bass

Question: What does Chopin's Op. 63 No. 3 have that is rare?
Answer: a canon at one beat's distance
Frédéric_Chopin

Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.

Question: What time are Chopin's polonaises written in?
Answer: triple time

Question: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who?
Answer: Elsner

Question: Chopin's polonaise often have what kind of rhythm in their melodies?
Answer: martial

Question: Chopin's polonaises needed what kind of playing technique?
Answer: formidable
Frédéric_Chopin

The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.

Question: How many nocturnes did Chopin compose?
Answer: 21

Question: What is it about the middle of Chopin's nocturnes that increases their drama?
Answer: agitated expression

Question: Chopin's nocturnes were more structured than who?
Answer: Field

Question: What year did Chopin meet Field?
Answer: 1833

Question: Which type of Chopin's compositons were difficult for perfomers due to their middle sections?
Answer: nocturnes
Frédéric_Chopin

Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves (Op. 25, No. 10), and playing repeated notes (Op. 10, No.  7).

Question: What pieces of his did Chopin use to teach his technique?
Answer: études

Question: What form are most of Chopin's études in?
Answer: straightforward ternary

Question: Chopin often taught his piano technique using what form of music he wrote?
Answer: études
Frédéric_Chopin

The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.

Question: What piece of Bach's did Chopin take inspiration for his preludes?
Answer: The Well-Tempered Clavier

Question: Who suggested that Chopin's preludes were not intended to be played as a group?
Answer: Kenneth Hamilton

Question: What was described as "the beginning of studies" by Schumann?
Answer: The preludes

Question: What inspired Chopin for his preludes?
Answer: J.S. Bach's The Well-Tempered Clavier

Question: Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what?
Answer: generic preludes to others of his pieces

Question: Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?
Answer: Ferruccio Busoni
Frédéric_Chopin

The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.

Question: How many movements are No. 2, Op. 35 and No. 3, Op 58 in?
Answer: four

Question: What two people claimed that Op 58 was "worthy of Brahms"?
Answer: Kornel Michałowski and Jim Samson

Question: How many movements are in No. 2, Op. 35 and No. 3, Op 58?
Answer: four

Question: Which movement was found lacking in musicality by Schumann?
Answer: The last movement

Question: According to music historians, which sonata is similar to German tradition and worthy of Brahms?
Answer: Op. 58
Frédéric_Chopin

Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.

Question: Chopin's chord progressions are similar in style to what other composer?
Answer: Claude Debussy

Question: What likely arose due to Chopin's technique with keyboards?
Answer: harmonic innovations

Question: Who wrote about Chopin's "novel harmonic effects"?
Answer: Temperley
Frédéric_Chopin

Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Question: According to J. Barrie Jones who was the only true successor to Chopin?
Answer: Karol Szymanowski

Question: Many people were considered influenced by Chopin's what?
Answer: national modes and idioms

Question: Who was Alexander Scriabin's teacher?
Answer: Nikolai Zverev

Question: Who was Chopin's worthy successor according to Jones?
Answer: Karol Szymanowski

Question: Who was devoted to the music of Chopin?
Answer: Alexander Scriabin

Question: Who was Alexander Scriabin's teacher?
Answer: Nikolai Zverev
Frédéric_Chopin

Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Question: Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances?
Answer: Jonathan Bellman

Question: What did Chopin tend to avoid?
Answer: rigid procedures

Question: What has been falsely credited to Chopin?
Answer: "always crescendo to a high note"

Question: What did Chopin tell a student is given up in concerts?
Answer: hearing in them all the most beautiful things of art

Question: Who wrote about Chopin's "chromatic embroidery"?
Answer: Berlioz

Question: Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?
Answer: Hiller
Frédéric_Chopin

Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

Question: Chopin's compositions are often played with what?
Answer: rubato

Question: What does rubato mean?
Answer: the practice in performance of disregarding strict time

Question: In Chopin's music where strict timing is disregarded, what is it called?
Answer: rubato

Question: What type of Chopin's music had the most disregard for strict timing according to Charles Rosen?
Answer: mazurkas
Frédéric_Chopin

Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

Question: According to who did Chopin demand strictly sticking with rhythm?
Answer: Friederike Müller

Question: Which student said Chopin made sure his students knew his legato, cantabile style of playing?
Answer: Friederike Müller

Question: According to Friederike Müller, Chopin insisted his students have the strictest adherence to what?
Answer: rhythm.
Frédéric_Chopin

With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Question: Chopin was noted as introducing music to what?
Answer: sense of nationalism

Question: What year did Schumann review Chopin's piano concertos?
Answer: 1836

Question: In his review Schumann made note of Chopin's emotions for what?
Answer: Poland

Question: Why did Schumann say the Poles were in mourning?
Answer: the failure of the November 1830

Question: A biography on Chopin released under Franz Liszt's name was likely written by who?
Answer: Carolyne zu Sayn-Wittgenstein

Question: Chopin was able to bring about a new sense of nationalism with his music because of his mazurkas and what?
Answer: polonaises

Question: Who wrote a glowing review of Chopin's love for his country through his music in 1836?
Answer: Schumann

Question: Schumann described Chopin's music as cannons buried in what?
Answer: flowers

Question: Though Franz Liszt is credited with Chopin's 1863 biography, who probably actually wrote it?
Answer: Carolyne zu Sayn-Wittgenstein
Frédéric_Chopin

Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

Question: Who said that Chopin's familiarity with Polish music was more "urbanised"  than true folk music?
Answer: Barbara Milewski

Question: George Golos references what two musicians when claiming Chopin's nationalism was overrated? 
Answer: Michał Kleofas Ogiński and Franciszek Lessel

Question: Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?
Answer: Richard Taruskin
Frédéric_Chopin

A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

Question: William Atwood suggested that Chopin's music wasn't purposely patriotic but what?
Answer: intuitive

Question: A modern commentator, William Atwood, feels Poles not only sought solace in Chopin's music but also found them a source of strength as they continued to fight for what?
Answer: freedom

Question: Where were Poles scattered to?
Answer: Europe and the New World
Frédéric_Chopin

Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Question: Arthur Hutchings stated that Chopin's lack of what made him special?
Answer: Byronic flamboyance

Question: Who were two of Chopin's contemporaries?
Answer: Liszt and Henri Herz

Question: What place was considered lucky for Chopin to have arrived at considering how much he charged for piano lessons?
Answer: Paris

Question: Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz?
Answer: Arthur Hutchings
Frédéric_Chopin

Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

Question: In what suite did Schumann name a work for Chopin?
Answer: Carnaval

Question: What piece of Chopin's work was dedicated to Schumann? 
Answer: Ballade No. 2 in F major

Question: How many of Chopin's Polish songs did Liszt transliterate for piano?
Answer: six

Question: With who did Chopin feel comfortable speaking of folk music with?
Answer: Alkan

Question: What was recognized about Chopin from his musical peers?
Answer: qualities as a pianist and composer

Question: What Schumann suite contained the name of a piece Schumann named for Chopin?
Answer: Carnaval

Question: What piece did Chopin dedicate to Schumann?
Answer: Ballade No. 2 in F major

Question: What other musician shows to have elements of Chopin in his work?
Answer: Liszt
Frédéric_Chopin

Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

Question: Who dedicated his 1915 piano Études to Chopin?
Answer: Debussy

Question: For what publisher to Debussy edit Chopin's music for?
Answer: Jacques Durand

Question: Who was a student of Chopin's former students and actually recorded some Chopin music?
Answer: Raoul Koczalski

Question: What music did Debussy play a lot at the Paris Conservatoire?
Answer: Chopin's
Sino-Tibetan_relations_during_the_Ming_dynasty

Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

Question: What important trade did the Ming Dynasty have with Tibet?
Answer: horse trade

Question: During what years did the Mongol leader Kublai Khan rule?
Answer: 1402–1424

Question: Who did the Yongle Emperor try to build a religious alliance with?
Answer: Deshin Shekpa

Question: Deshin Shekpa was the head of what school?
Answer: the Karma Kagyu school

Question: The Tibetan leaders had a diplomacy with what neighboring state?
Answer: Nepal
Sino-Tibetan_relations_during_the_Ming_dynasty

The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

Question: What did the Tibetans use against Ming forays?
Answer: armed resistance

Question: Who were the armed protectors for the Gelug Dalai Lama?
Answer: the Mongols

Question: Which regime did Güshi Khan help establish? 
Answer: the Ganden Phodrang

Question: When was the Mongol-Tibetan alliance started?
Answer: 1578
Sino-Tibetan_relations_during_the_Ming_dynasty

Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

Question: In what century did the Tibetan Empire fall?
Answer: the 9th century

Question: Who signed multiple peace treaties with the Tang? 
Answer: The Yarlung rulers of Tibet

Question: What did one of the treaties between the Tang and Tibet help fix?
Answer: the borders between Tibet and China

Question: Who was the Tangs biggest rival?
Answer: Tibet

Question: What year did Tang and Tibet sign a treaty to fix the borders?
Answer: 821
Sino-Tibetan_relations_during_the_Ming_dynasty

During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

Question: When did the Five Dynasties and Ten Kingdoms period of China take place?
Answer: 907–960

Question: When did the Song dynasty take place?
Answer: 960–1279

Question: What dynasty was concerned with countering northern enemy states?
Answer: Song dynasty

Question: Who ruled the Liao dynasty?
Answer: the Khitan

Question: Who ruled the  Jin dynasty?
Answer: Jurchen
Sino-Tibetan_relations_during_the_Ming_dynasty

In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.

Question: Which ruler took Western Xia under their control?
Answer: Genghis Khan

Question: Who was Genghis Khan's successor? 
Answer: Ögedei Khan

Question: What years did Ögedei Khan rule?
Answer: 1229–1241

Question: Who invaded Tibet? 
Answer: Ögedei Khan
Sino-Tibetan_relations_during_the_Ming_dynasty

The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

Question: Who was the Mongol prince?
Answer: Godan

Question: Who was the leader of the Sakya school of Tibetan Buddhism?
Answer: Sakya Pandita

Question: Who was the regent of the Mongol Empire?
Answer: Töregene Khatun

Question: In what years was Töregene Khatun the regent of the Mongol Empire?
Answer: 1241–1246
Sino-Tibetan_relations_during_the_Ming_dynasty

Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

Question: How many states were ruled by myriarchies?
Answer: thirteen

Question: What title did prince Kublai rule as from 1260 to 1294?
Answer: Khagan

Question: Who was the superior of prince Kublai?
Answer: Ögedei Khan

Question: Who became the second Karmapa Lama?
Answer: Karma Pakshi

Question: With whom did Kublai Khan have a unique relationship with? 
Answer: the Phagpa lama
Sino-Tibetan_relations_during_the_Ming_dynasty

Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

Question: When did Kublai Khan conquer the song dynasty?  
Answer: 1279

Question: When did the Yuan dynasty rule?
Answer: 1271–1368

Question: Which dynasty ruled all of china? 
Answer: the Yuan dynasty

Question: What did Khubilai claim for a while?
Answer: universal rule

Question: Where did Khubilai seek support as Emperor?
Answer: China
Sino-Tibetan_relations_during_the_Ming_dynasty

In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

Question: What year was the Sakya viceregal regime eradicated? 
Answer: 1358

Question: Who placed the Sakya viceregal regime position of authority?
Answer: the Mongols in Tibet

Question: Who eradicated the Sakya viceregal regime? 
Answer: the Phagmodru myriarch Tai Situ Changchub Gyaltsen

Question: Which dynasty became ruler of Tibet?  
Answer: the Phagmodrupa Dynasty
Sino-Tibetan_relations_during_the_Ming_dynasty

In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

Question: Who created the Ming Dynasty? 
Answer: Zhu Yuanzhang

Question: Who caused the Yuan dynasty to fall?
Answer: the Red Turban Rebellion

Question: Who ruled as the the Hongwu Emperor?
Answer: Zhu Yuanzhang

Question: What years did Zhu Yuanzhang rule as the Hongwu Emperor?
Answer: 1368–1398

Question: Who did the Hongwu Emperor send convoys to?
Answer: Yuan officeholders
Sino-Tibetan_relations_during_the_Ming_dynasty

As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.

Question: Who was the fourth Karmapa Lama?
Answer: Rolpe Dorje

Question: Who rejected an invitation by the Hongwu Emperor?
Answer: Rolpe Dorje

Question: What did the the Hongwu Emperor want to continue to promote?
Answer: the Buddhist link between Tibet and China

Question: Who did Rolpe Dorje send as envoys to court in Nanjing?
Answer: disciples
Sino-Tibetan_relations_during_the_Ming_dynasty

However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet."

Question: Who created a law that did not allow Han Chinese to learn the beliefs of Tibetan Buddhism?
Answer: Ming government

Question: What years did the Yongle Emperor reign? 
Answer: 1402–1424

Question: Who worked towards obtaining a extension of relations with Tibet?
Answer: the Yongle Emperor
Sino-Tibetan_relations_during_the_Ming_dynasty

According to the official Twenty-Four Histories, the History of Ming compiled in 1739 by the subsequent Qing dynasty (1644–1912), the Ming dynasty established the "É-Lì-Sī Army-Civilian Marshal Office" (Chinese: 俄力思軍民元帥府) in western Tibet and installed the "Ü-Tsang Itinerant High Commandery" and "Amdo-Kham Itinerant High Commandery" to administer Kham. The Mingshi states that administrative offices were set up under these high commanderies, including one Itinerant Commandery, three Pacification Commissioner's Offices, six Expedition Commissioner's Offices, four Wanhu offices (myriarchies, in command of 10,000 households each) and seventeen Qianhu offices (chiliarchies, each in command of 1,000 households).

Question: What years did the Qing dynasty rule?
Answer: 1644–1912

Question: what year was the history of Ming produced? 
Answer: 1739

Question: What did the Ming dynasty create?
Answer: É-Lì-Sī Army-Civilian Marshal Office

Question: How many Qianhu offices were there?
Answer: seventeen Qianhu offices

Question: where was the É-Lì-Sī Army-Civilian Marshal Office established?
Answer: western Tibet
Sino-Tibetan_relations_during_the_Ming_dynasty

The Ming court appointed three Princes of Dharma (法王) and five Princes (王), and granted many other titles, such as Grand State Tutors (大國師) and State Tutors (國師), to the important schools of Tibetan Buddhism, including the Karma Kagyu, Sakya, and Gelug. According to Wang Jiawei and Nyima Gyaincain, leading officials of these organs were all appointed by the central government and were subject to the rule of law. Yet Van Praag describes the distinct and long-lasting Tibetan law code established by the Phagmodru ruler Tai Situ Changchub Gyaltsen as one of many reforms to revive old Imperial Tibetan traditions.

Question: How many princes of Dharma were assigned by the Ming court?
Answer: three

Question: Who established the Tibetan law code?
Answer: Tai Situ Changchub Gyaltsen

Question: Who was the Phagmodru ruler?
Answer: Tai Situ Changchub Gyaltsen
Sino-Tibetan_relations_during_the_Ming_dynasty

The late Turrell V. Wylie, a former professor of the University of Washington, and Li Tieh-tseng argue that the reliability of the heavily censored History of Ming as a credible source on Sino-Tibetan relations is questionable, in the light of modern scholarship. Other historians also assert that these Ming titles were nominal and did not actually confer the authority that the earlier Yuan titles had. Van Praag writes that the "numerous economically motivated Tibetan missions to the Ming Court are referred to as 'tributary missions' in the Ming Shih." Van Praag writes that these "tributary missions" were simply prompted by China's need for horses from Tibet, since a viable horse market in Mongol lands was closed as a result of incessant conflict. Morris Rossabi also writes that "Tibet, which had extensive contacts with China during the Yuan, scarcely had diplomatic relations with the Ming."

Question: who was a professor of the University of Washington?
Answer: Turrell V. Wylie

Question: Who had a large amount of contacts with china during Yuan?
Answer: Tibet

Question: Who believed that Tibet barely had any diplomatic relations with the Ming?
Answer: Morris Rossabi
Sino-Tibetan_relations_during_the_Ming_dynasty

Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.

Question: Who believed that the Ming court had full sovereignty over Tibet?
Answer: Wang and Nyima

Question: What year did Wang and Nyima believe that the Mongol Prince Punala went to Nanjing?
Answer: 1371

Question: What did the lamas called themselves?
Answer: princes

Question: What edicts did the Ming issue?
Answer: imperial edicts
Sino-Tibetan_relations_during_the_Ming_dynasty

Journalist and author Thomas Laird, in his book The Story of Tibet: Conversations with the Dalai Lama, writes that Wang and Nyima present the government viewpoint of the People's Republic of China in their Historical Status of China's Tibet, and fail to realize that China was "absorbed into a larger, non-Chinese political unit" during the Mongol Yuan dynasty, which Wang and Nyima paint as a characteristic Chinese dynasty succeeded by the Ming. Laird asserts that the ruling Mongol khans never administered Tibet as part of China and instead ruled them as separate territories, comparing the Mongols with the British who colonized India and New Zealand, yet stating this does not make India part of New Zealand as a consequence. Of later Mongol and Tibetan accounts interpreting the Mongol conquest of Tibet, Laird asserts that "they, like all non-Chinese historical narratives, never portray the Mongol subjugation of Tibet as a Chinese one."

Question: Who wrote the book The Story of Tibet?
Answer: Journalist and author Thomas Laird

Question: who colonized India and New Zealand?
Answer: the British

Question: Who's viewpoint does Thomas Laird believe Wang and Nyima present?
Answer: the government viewpoint of the People's Republic of China
Sino-Tibetan_relations_during_the_Ming_dynasty

The Columbia Encyclopedia distinguishes between the Yuan dynasty and the other Mongol Empire khanates of Ilkhanate, Chagatai Khanate and the Golden Horde. It describes the Yuan dynasty as "A Mongol dynasty of China that ruled from 1271 to 1368, and a division of the great empire conquered by the Mongols. Founded by Kublai Khan, who adopted the Chinese dynastic name of Yüan in 1271." The Encyclopedia Americana describes the Yuan dynasty as "the line of Mongol rulers in China" and adds that the Mongols "proclaimed a Chinese-style Yüan dynasty at Khanbaliq (Beijing)." The Metropolitan Museum of Art writes that the Mongol rulers of the Yuan dynasty "adopted Chinese political and cultural models; ruling from their capitals in Dadu, they assumed the role of Chinese emperors," although Tibetologist Thomas Laird dismissed the Yuan dynasty as a non-Chinese polity and plays down its Chinese characteristics. The Metropolitan Museum of Art also noted that in spite of the gradual assimilation of Yuan monarchs, the Mongol rulers largely ignored the literati and imposed harsh policies discriminating against southern Chinese. In his Kublai Khan: His Life and Times, Rossabi explains that Kublai "created government institutions that either resembled or were the same as the traditional Chinese ones", and he "wished to signal to the Chinese that he intended to adopt the trappings and style of a Chinese ruler".

Question: How did the The Columbia Encyclopedia describe the Yuan dynasty?
Answer: A Mongol dynasty of China

Question: How did the Encyclopedia Americana describe the Yuan Dynasty?
Answer: the line of Mongol rulers in China

Question: What did Thomas Laird dismiss the Yuan dynasty as?
Answer: a non-Chinese polity

Question: Who wrote the book Khubilai Khan?
Answer: Rossabi

Question: When did the yuan dynasty start and end?
Answer: 1271 to 1368
Sino-Tibetan_relations_during_the_Ming_dynasty

Nevertheless, the ethno-geographic caste hierarchy favoring the Mongols and other ethnicities were accorded higher status than the Han Chinese majority. Although Han Chinese who were recruited as advisers were often actually more influential than high officials, their status was not as well defined. Kublai also abolished the imperial examinations of China's civil service legacy, which was not reinstated until Ayurbarwada Buyantu Khan's reign (1311–1320). Rossabi writes that Kublai recognized that in order to rule China, "he had to employ Chinese advisors and officials, yet he could not rely totally on Chinese advisers because he had to maintain a delicate balancing act between ruling the sedentary civilization of China and preserving the cultural identity and values of the Mongols." And "in governing China, he was concerned with the interests of his Chinese subjects, but also with exploiting the resources of the empire for his own aggrandizement. His motivations and objectives alternated from one to the other throughout his reign," according to Rossabi. Van Praag writes in The Status of Tibet that the Tibetans and Mongols, on the other hand, upheld a dual system of rule and an interdependent relationship that legitimated the succession of Mongol khans as universal Buddhist rulers, or chakravartin. Van Praag writes that "Tibet remained a unique part of the Empire and was never fully integrated into it," citing examples such as a licensed border market that existed between China and Tibet during the Yuan.

Question: When did Ayurbarwada Buyantu Khan reign?
Answer: 1311–1320

Question: During the Yuan what existed between China and Tibet? 
Answer: a licensed border market

Question: Who was granted higher status than the Han Chinese majority?
Answer: the Mongols and other ethnicities