derek-thomas/squad-v1.1-t5-question-generation huggingface dataset:
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? Question: What can Plainsong or Gregorian chant also be called? Question: When did Monophonic chant stop being the dominant form? Question: What does Polyphonic mean? Question: Polyphonic music included more complex voicing of what?
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: What era was from 1400 to 1600? Question: The use of the first ass instruments occurred in what era? Question: Musical forms for dance began to standardize during what era? Question: When was the Renaissance era? Question: What became widespread in the Renaissance era?
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? Question: How was music transmitted before the invention of musical notation? Question: What was oral music subject to every time is was transmitted? Question: What can a musical scored be performed without? Question: When was the movable-type printing press invented?
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? Question: The sahwm was an early family member of what instrument? Question: Where were the first pipe organs confined to? Question: When had the viol emerged by? Question: What enabled descriptions and specification of instruments?
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? Question: What began with the Baroque era? Question: What era did the classical era follow? Question: When did the classical era end? Question: When did the romantic era end?
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? Question: What does basso continuo mean? Question: What did music become during the Baroque era  in comparison with earlier periods? Question: What form began to take shape during the Baroque era? Question: Major and minor what are means for managing dissonance and chromaticism?
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? Question: The violin family is what type of instrument? Question: Opera began to differentiate itself from earlier forms as what? Question: What became more common during the Baroque era? Question: What did vocalist add to melodies beginning in the Baroque era?
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? Question: What does equal temperament enabled in hard to tune keyboard instruments? Question: What did Bach not use? Question: A modern piano is generally what? Question: What system of temperaments was common during Bach's time?
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? Question: What instrument became the predominant keyboard during the classical era? Question: What became more standardized during the classical era? Question: How many muscians, at most, could make up a chamber ensemble during the classical period? Question: What is an opera buffa?
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? Question: What type of instrument was somewhat standardized int eh Baroque era? Question: What is the single reed family called? Question: Who expanded the single reeds role?
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? Question: When did the Romantic era end? Question: Free-form pieces like nocturnes and preludes were a break from what era? Question: Tensions about what increased during the Romantic era? Question: What is a name for an art song?
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? Question: Composers and musicians began to construct lives independent of what in the 19th century? Question: What class increased it's interest in music during the 19th century? Question: What instrument became widely popular in the middle class in the 19th century? Question: The 19th century marks the foundation of many what?
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: What array of instrument grew wider? Question: What allowed Brass instruments to play a wider range of notes? Question: To what number did the size of the orchestra grow to? Question: What size orchestras have performed Gustav Mahler's 1906 Symphony No. 8? Question: What size of choirs have performed Gustav Mahler's 1906 Symphony No. 8?
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? Question: What type of music rose toward the end of the era? Question: What did nationalism in music sometime echo? Question: Edvard Grieg and Antonin Dvorak used what kind of music in their compositions?
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? Question: Composers rejected the traditions of the common practice period during what era? Question: When did modernism take place? Question: Neo-classical music emerged during what era? Question: Postmodern music is also know as what?
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? Question: Who asked why is music composed by women so marginal to the standard 'classical' repertoire? Question: What type of music did women composers typically write? Question: Why were women composers deemed not notable? Question: Who is one of the only female composers mentioned?
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? Question: Musical notation is effective for what? Question: Why is written musical notation effective?
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: What years was the study conducted in? Question: Did student who actively listen to classical music before studying have higher or lower scores? Question: What happened to the scores of students who listened to rock and roll or country? Question: Who experience a significant leap in their academic performance? Question: Who conducted the research study?
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? Question: Who wrote a book on the Mozart effect? Question: Where was the experiment originally published? Question: How many IQ points of a students' does the Mozart effect temporarily boost? Question: How much did the Governor of Georgia budget per year to provide every child with a CD of classical music?
Shawn Vancour argues that the commercialization of classical music in the early 20th century served to harm the music industry through inadequate representation.

Question: Who argued that the commercialization of classical music was harmful to the music industry? Question: What harmed the music industry in the 20th century according to Shawn Vancour? Question: Why was the commercialization of classical music harmful to the music industry according the Shawn Vancour?
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? Question: Who produced Fantasia? Question: Who starred in Johann Mouse? Question: Who produced Rabbit of Seville? Question: Who produced What's Opera, Doc?
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? Question: What piece by Mozart is used as a cliche to convey refinement? Question: What piece by Vivaldi is used as a cliche to convey opulence? Question: Who wrote Night on Bald Mountain? Question: Who wrote William Tell Overture?
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? Question: Interpretations of written score is left to whom? Question: Performers can use their knowledge of what to help interpret a written score?
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? Question: When did oral tradition disappear? Question: There is still controversy about how to perform works, even though scores provide what? Question: A score-centric approach strictly emphasizes what?
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? Question: Where can a remnant of improvisation tradition be found? Question: What can solo performers exhibit during a cadenza? Question: What type of performances of Baroque ear Operas require improvisation? Question: An example of improvisation in an opera is Beverly Sills variation of what movement of Handel's Giulio Cesare?
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? Question: TV commercials using Richard Strauss' Also sprach Zarathustra have now become what? Question: What piece is often used in the horror genre? Question: Who wrote in the Hall of the Mountain King? Question: Who wrote Ride of the Valkyries?