gaussalgo/Canard_Wiki-augmented huggingface dataset:
Periyar E. V. Ramasamy

Context: Erode Venkata Ramasamy was born on 17 September 1879, in Erode, then a part of the Coimbatore district of the Madras Presidency. E.V. Ramasamy's father, a rich Balija businessman, was Venkatappa Naicker (or Venkata), and his mother was Chinnathyee, Muthammal. He had one elder brother named Krishnaswamy and two sisters named Kannamma and Ponnuthoy. He later came to be known as "Periyar" meaning 'respected one' or 'elder' in Tamil. E.V. Ramasamy married when he was 19, and had a daughter who lived for only 5 months. His first wife, Nagammai, died in 1933. E.V. Ramasamy married for a second time in July 1948. His second wife, Maniammai, continued E.V. Ramasamy's social work after his death in 1973, but his thoughts and ideas then were advocated by Dravidar Kazhagam. In 1929, E.V. Ramasamy announced the deletion of his caste title Naicker from his name at the First Provincial Self-Respect Conference of Chengalpattu. He could speak three Dravidian languages: Kannada, Telugu and Tamil.  Periyar attended school for five years after which he joined his father's trade at the age of 12. He used to listen to Tamil Vaishnavite gurus who gave discourses in his house enjoying his father's hospitality. At a young age, he began questioning the apparent contradictions in the Hindu mythological stories. As Periyar grew, he felt that people used religion only as a mask to deceive innocent people and therefore took it as one of his duties in life to warn people against superstitions and priests. E.V. Ramasamy's father arranged for his wedding when he was nineteen. The bride, Nagammai, was only thirteen. Despite having an arranged marriage, Periyar and Nagammai were already in love with each other. Nagammai actively supported her husband in his later public activities and agitations. Two years after their marriage, a daughter was born to them. However, their daughter died when she was five months old. The couple had no more children. CANNOTANSWER

Question: Besides Periyar early childhood are there any other interesting aspects about this article?
Answer: His second wife, Maniammai, continued E.V. Ramasamy's social work after his death in 1973,
Periyar E. V. Ramasamy

Context: Erode Venkata Ramasamy was born on 17 September 1879, in Erode, then a part of the Coimbatore district of the Madras Presidency. E.V. Ramasamy's father, a rich Balija businessman, was Venkatappa Naicker (or Venkata), and his mother was Chinnathyee, Muthammal. He had one elder brother named Krishnaswamy and two sisters named Kannamma and Ponnuthoy. He later came to be known as "Periyar" meaning 'respected one' or 'elder' in Tamil. E.V. Ramasamy married when he was 19, and had a daughter who lived for only 5 months. His first wife, Nagammai, died in 1933. E.V. Ramasamy married for a second time in July 1948. His second wife, Maniammai, continued E.V. Ramasamy's social work after his death in 1973, but his thoughts and ideas then were advocated by Dravidar Kazhagam. In 1929, E.V. Ramasamy announced the deletion of his caste title Naicker from his name at the First Provincial Self-Respect Conference of Chengalpattu. He could speak three Dravidian languages: Kannada, Telugu and Tamil.  Periyar attended school for five years after which he joined his father's trade at the age of 12. He used to listen to Tamil Vaishnavite gurus who gave discourses in his house enjoying his father's hospitality. At a young age, he began questioning the apparent contradictions in the Hindu mythological stories. As Periyar grew, he felt that people used religion only as a mask to deceive innocent people and therefore took it as one of his duties in life to warn people against superstitions and priests. E.V. Ramasamy's father arranged for his wedding when he was nineteen. The bride, Nagammai, was only thirteen. Despite having an arranged marriage, Periyar and Nagammai were already in love with each other. Nagammai actively supported her husband in his later public activities and agitations. Two years after their marriage, a daughter was born to them. However, their daughter died when she was five months old. The couple had no more children. CANNOTANSWER

Question: Why did Periyar delete the castle title from his name?
Answer: CANNOTANSWER
Guns N' Roses

Context: In 1984, Hollywood Rose member Izzy Stradlin was living with L.A. Guns member Tracii Guns. When L.A. Guns needed a new vocalist, Stradlin suggested Hollywood Rose singer Axl Rose. Guns N' Roses was formed in March 1985 by Rose and rhythm guitarist Stradlin, along with lead guitarist Tracii Guns, bassist Ole Beich, and drummer Rob Gardner of L.A. Guns. The band coined its name by combining the names of both previous groups. Rejected names for the band included "Heads of Amazon" and "AIDS". After a short time, during which the band reportedly played two or three shows, Beich was fired and replaced by Duff McKagan. Tracii Guns left the band after an argument with Rose leading to his replacement by Rose and Stradlin's one-time Hollywood Rose bandmate, Slash. Gardner quit soon after and was replaced by another former Hollywood Rose member, Steven Adler. Slash had also previously played with McKagan and Adler in Road Crew. The band's "classic" lineup was finalized on June 4, 1985 when Adler and Slash officially joined. After two days of rehearsals, the band played their first show with the lineup on June 6, 1985. Two days later, the band embarked on a short, disorganized tour of the West Coast, from Sacramento, California, to McKagan's hometown of Seattle, Washington. The band drove in a separate van and had to abandon their gear when both vans broke down on the way to Seattle, forcing them to hitch-hike up the coast and back home to LA with only their guitars. The so-called "Hell Tour" settled the band's first stable lineup, with McKagan later commenting, "This trip had set a new benchmark for what we were capable of, what we could and would put ourselves through to achieve our goals as a band." Through the band's increasing presence on the Hollywood club scene - playing famed bars such as The Troubadour and The Roxy - Guns N' Roses drew the attention of major record labels. The group signed with Geffen Records in March 1986, receiving a $75,000 advance. They had turned down an offer from Chrysalis Records that was nearly double Geffen's, due to Chrysalis wanting to change the band's image and sound and Geffen offering full artistic freedom. In December of that year, the group released the four-song EP Live ?!*@ Like a Suicide, designed to keep interest in the band alive while the group withdrew from the club scene to work in the studio. The EP release was designed to sooth over the label, who felt the band didn't have enough songs to record an album. The EP contained covers of Rose Tattoo's "Nice Boys" and Aerosmith's "Mama Kin", along with two original compositions: the punk-influenced "Reckless Life" and the classic rock-inspired "Move to the City." Although billed as a live recording, the four songs were taken from the band's demo tapes and overdubbed with crowd noise. Live ?!*@ Like a Suicide was released on the Geffen subsidiary Uzi Suicide, with production limited to 10,000 vinyl copies. CANNOTANSWER

Question: What was Formation
Answer: The band's "classic" lineup was finalized on June 4, 1985
Guns N' Roses

Context: In 1984, Hollywood Rose member Izzy Stradlin was living with L.A. Guns member Tracii Guns. When L.A. Guns needed a new vocalist, Stradlin suggested Hollywood Rose singer Axl Rose. Guns N' Roses was formed in March 1985 by Rose and rhythm guitarist Stradlin, along with lead guitarist Tracii Guns, bassist Ole Beich, and drummer Rob Gardner of L.A. Guns. The band coined its name by combining the names of both previous groups. Rejected names for the band included "Heads of Amazon" and "AIDS". After a short time, during which the band reportedly played two or three shows, Beich was fired and replaced by Duff McKagan. Tracii Guns left the band after an argument with Rose leading to his replacement by Rose and Stradlin's one-time Hollywood Rose bandmate, Slash. Gardner quit soon after and was replaced by another former Hollywood Rose member, Steven Adler. Slash had also previously played with McKagan and Adler in Road Crew. The band's "classic" lineup was finalized on June 4, 1985 when Adler and Slash officially joined. After two days of rehearsals, the band played their first show with the lineup on June 6, 1985. Two days later, the band embarked on a short, disorganized tour of the West Coast, from Sacramento, California, to McKagan's hometown of Seattle, Washington. The band drove in a separate van and had to abandon their gear when both vans broke down on the way to Seattle, forcing them to hitch-hike up the coast and back home to LA with only their guitars. The so-called "Hell Tour" settled the band's first stable lineup, with McKagan later commenting, "This trip had set a new benchmark for what we were capable of, what we could and would put ourselves through to achieve our goals as a band." Through the band's increasing presence on the Hollywood club scene - playing famed bars such as The Troubadour and The Roxy - Guns N' Roses drew the attention of major record labels. The group signed with Geffen Records in March 1986, receiving a $75,000 advance. They had turned down an offer from Chrysalis Records that was nearly double Geffen's, due to Chrysalis wanting to change the band's image and sound and Geffen offering full artistic freedom. In December of that year, the group released the four-song EP Live ?!*@ Like a Suicide, designed to keep interest in the band alive while the group withdrew from the club scene to work in the studio. The EP release was designed to sooth over the label, who felt the band didn't have enough songs to record an album. The EP contained covers of Rose Tattoo's "Nice Boys" and Aerosmith's "Mama Kin", along with two original compositions: the punk-influenced "Reckless Life" and the classic rock-inspired "Move to the City." Although billed as a live recording, the four songs were taken from the band's demo tapes and overdubbed with crowd noise. Live ?!*@ Like a Suicide was released on the Geffen subsidiary Uzi Suicide, with production limited to 10,000 vinyl copies. CANNOTANSWER

Question: What happen in 1985
Answer: The band's "classic" lineup was finalized on June 4, 1985 when Adler and Slash officially joined.
Guns N' Roses

Context: In 1984, Hollywood Rose member Izzy Stradlin was living with L.A. Guns member Tracii Guns. When L.A. Guns needed a new vocalist, Stradlin suggested Hollywood Rose singer Axl Rose. Guns N' Roses was formed in March 1985 by Rose and rhythm guitarist Stradlin, along with lead guitarist Tracii Guns, bassist Ole Beich, and drummer Rob Gardner of L.A. Guns. The band coined its name by combining the names of both previous groups. Rejected names for the band included "Heads of Amazon" and "AIDS". After a short time, during which the band reportedly played two or three shows, Beich was fired and replaced by Duff McKagan. Tracii Guns left the band after an argument with Rose leading to his replacement by Rose and Stradlin's one-time Hollywood Rose bandmate, Slash. Gardner quit soon after and was replaced by another former Hollywood Rose member, Steven Adler. Slash had also previously played with McKagan and Adler in Road Crew. The band's "classic" lineup was finalized on June 4, 1985 when Adler and Slash officially joined. After two days of rehearsals, the band played their first show with the lineup on June 6, 1985. Two days later, the band embarked on a short, disorganized tour of the West Coast, from Sacramento, California, to McKagan's hometown of Seattle, Washington. The band drove in a separate van and had to abandon their gear when both vans broke down on the way to Seattle, forcing them to hitch-hike up the coast and back home to LA with only their guitars. The so-called "Hell Tour" settled the band's first stable lineup, with McKagan later commenting, "This trip had set a new benchmark for what we were capable of, what we could and would put ourselves through to achieve our goals as a band." Through the band's increasing presence on the Hollywood club scene - playing famed bars such as The Troubadour and The Roxy - Guns N' Roses drew the attention of major record labels. The group signed with Geffen Records in March 1986, receiving a $75,000 advance. They had turned down an offer from Chrysalis Records that was nearly double Geffen's, due to Chrysalis wanting to change the band's image and sound and Geffen offering full artistic freedom. In December of that year, the group released the four-song EP Live ?!*@ Like a Suicide, designed to keep interest in the band alive while the group withdrew from the club scene to work in the studio. The EP release was designed to sooth over the label, who felt the band didn't have enough songs to record an album. The EP contained covers of Rose Tattoo's "Nice Boys" and Aerosmith's "Mama Kin", along with two original compositions: the punk-influenced "Reckless Life" and the classic rock-inspired "Move to the City." Although billed as a live recording, the four songs were taken from the band's demo tapes and overdubbed with crowd noise. Live ?!*@ Like a Suicide was released on the Geffen subsidiary Uzi Suicide, with production limited to 10,000 vinyl copies. CANNOTANSWER

Question: What was Guns N' Roses known for
Answer: band
Guns N' Roses

Context: In 1984, Hollywood Rose member Izzy Stradlin was living with L.A. Guns member Tracii Guns. When L.A. Guns needed a new vocalist, Stradlin suggested Hollywood Rose singer Axl Rose. Guns N' Roses was formed in March 1985 by Rose and rhythm guitarist Stradlin, along with lead guitarist Tracii Guns, bassist Ole Beich, and drummer Rob Gardner of L.A. Guns. The band coined its name by combining the names of both previous groups. Rejected names for the band included "Heads of Amazon" and "AIDS". After a short time, during which the band reportedly played two or three shows, Beich was fired and replaced by Duff McKagan. Tracii Guns left the band after an argument with Rose leading to his replacement by Rose and Stradlin's one-time Hollywood Rose bandmate, Slash. Gardner quit soon after and was replaced by another former Hollywood Rose member, Steven Adler. Slash had also previously played with McKagan and Adler in Road Crew. The band's "classic" lineup was finalized on June 4, 1985 when Adler and Slash officially joined. After two days of rehearsals, the band played their first show with the lineup on June 6, 1985. Two days later, the band embarked on a short, disorganized tour of the West Coast, from Sacramento, California, to McKagan's hometown of Seattle, Washington. The band drove in a separate van and had to abandon their gear when both vans broke down on the way to Seattle, forcing them to hitch-hike up the coast and back home to LA with only their guitars. The so-called "Hell Tour" settled the band's first stable lineup, with McKagan later commenting, "This trip had set a new benchmark for what we were capable of, what we could and would put ourselves through to achieve our goals as a band." Through the band's increasing presence on the Hollywood club scene - playing famed bars such as The Troubadour and The Roxy - Guns N' Roses drew the attention of major record labels. The group signed with Geffen Records in March 1986, receiving a $75,000 advance. They had turned down an offer from Chrysalis Records that was nearly double Geffen's, due to Chrysalis wanting to change the band's image and sound and Geffen offering full artistic freedom. In December of that year, the group released the four-song EP Live ?!*@ Like a Suicide, designed to keep interest in the band alive while the group withdrew from the club scene to work in the studio. The EP release was designed to sooth over the label, who felt the band didn't have enough songs to record an album. The EP contained covers of Rose Tattoo's "Nice Boys" and Aerosmith's "Mama Kin", along with two original compositions: the punk-influenced "Reckless Life" and the classic rock-inspired "Move to the City." Although billed as a live recording, the four songs were taken from the band's demo tapes and overdubbed with crowd noise. Live ?!*@ Like a Suicide was released on the Geffen subsidiary Uzi Suicide, with production limited to 10,000 vinyl copies. CANNOTANSWER

Question: What happen in 1986
Answer: The group signed with Geffen Records in March 1986, receiving a $75,000 advance.
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: What is organic music?
Answer: instruments made of materials such as paper, stone, or water,
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: Did Tan Dun write any organic music?
Answer: The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998),
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: Did Tan Dun have any notable works other than Water Concerto for Water Percussion and Orchestra?
Answer: Paper Concerto for Paper Percussion and Orchestra
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: Did Tan Dun work together with anyone else to write his organic music pieces?
Answer: CANNOTANSWER
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: Are there any interesting aspects about this article other than information about Tan Dun's organic music pieces, Water Concerto for Water Percussion and Orchestra, and Water Passion After St. Matthew?
Answer: According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan.
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: What was Tan Dun's most recent piece?
Answer: Earth Concerto for stone and ceramic percussion and orchestra (2009)
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: Did Tan Dun win any awards?
Answer: CANNOTANSWER
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: What instruments were used in Tan Dun's work, Earth Concerto for Stone and Ceramic Percussion and Orchestra?
Answer: paper, stone, or water,
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: What was Tan Dun's first work?
Answer: Water Concerto for Water Percussion and Orchestra
Tan Dun

Context: Many of Tan Dun's works call for instruments made of materials such as paper, stone, or water, but the compositions that he classifies as "organic music" feature these instruments most prominently. The first major work for organic instruments was his Water Concerto for Water Percussion and Orchestra (1998), dedicated to Toru Takemitsu. According to the composer, the sounds made by the soloist are inspired by the sounds of everyday life growing up in Hunan. Basins are filled with water, and the contents are manipulated with bowls, bottles, hands, and other devices. Other water instruments used include the waterphone. Various means of amplification are used, including contact microphones on the basins. The techniques devised in the Water Concerto were used again in Tan Dun's Water Passion After St. Matthew (2000). Written to commemorate the 250th anniversary of the death of Johann Sebastian Bach, the work for chorus, orchestra, and water percussion follows the Gospel of Matthew, beginning with Christ's baptism. The chorus doubles on tingsha, and the soprano and bass soloists double on xun. The score also requires Mongolian overtone singing from the soloists. As with Orchestral Theatre I: O, members of the orchestra play their instruments with techniques borrowed from non-Western traditions. Tan Dun's next major organic work, Paper Concerto for Paper Percussion and Orchestra (2003), explores the acoustic range of paper. Instruments constructed from differing thicknesses of paper are used as cymbals, drums, or reeds. Additionally, sheets of paper are shaken or struck. These sounds are amplified primarily through wireless microphones worn by the musicians. This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall. Earth Concerto for stone and ceramic percussion and orchestra (2009) draws from Gustav Mahler's Das Lied von der Erde (The Song of the Earth), which in turn draws from the poetry of Li Po. Ceramic instruments include percussion instruments similar to those Tan Dun had used in previous works, as well as wind instruments and xun. CANNOTANSWER

Question: How was Tan Dun's music taken by the public?
Answer: This work was commissioned by the Los Angeles Philharmonic for the opening of the Walt Disney Concert Hall.
Chuck Berry

Context: Berry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, but in 1972 Chess released a live recording of "My Ding-a-Ling", a novelty song which he had recorded in a different version as "My Tambourine" on his 1968 LP From St. Louie to Frisco. The track became his only number-one single. A live recording of "Reelin' and Rockin'", issued as a follow-up single in the same year, was his last Top 40 hit in both the US and the UK. Both singles were included on the part-live, part-studio album The London Chuck Berry Sessions (other albums of London sessions were recorded by Chess's mainstay artists Muddy Waters and Howlin' Wolf). Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until Rock It for Atco Records in 1979, which would be his last studio album for 38 years. In the 1970s Berry toured on the strength of his earlier successes. He was on the road for many years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. AllMusic said that in this period his "live performances became increasingly erratic, ... working with terrible backup bands and turning in sloppy, out-of-tune performances" which "tarnished his reputation with younger fans and oldtimers" alike. In March 1972 he was filmed, at the BBC Television Theatre in Shepherds Bush, for Chuck Berry in Concert, part of a 60-date tour backed by the band Rocking Horse. Among the many bandleaders performing a backup role with Berry in the 1970s were Bruce Springsteen and Steve Miller when each was just starting his career. Springsteen related in the documentary film Hail! Hail! Rock 'n' Roll that Berry did not give the band a set list and expected the musicians to follow his lead after each guitar intro. Berry neither spoke to nor thanked the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995. At the request of Jimmy Carter, Berry performed at the White House on June 1, 1979. Berry's touring style, traveling the "oldies" circuit in the 1970s (often being paid in cash by local promoters) added ammunition to the Internal Revenue Service's accusations that Berry had evaded paying income taxes. Facing criminal sanction for the third time, Berry pleaded guilty to tax evasion and was sentenced to four months in prison and 1,000 hours of community service--performing benefit concerts--in 1979. CANNOTANSWER

Question: Where did the White house concert hold?
Answer: At the request of Jimmy Carter, Berry performed at the White House on June 1, 1979.
Chuck Berry

Context: Berry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, but in 1972 Chess released a live recording of "My Ding-a-Ling", a novelty song which he had recorded in a different version as "My Tambourine" on his 1968 LP From St. Louie to Frisco. The track became his only number-one single. A live recording of "Reelin' and Rockin'", issued as a follow-up single in the same year, was his last Top 40 hit in both the US and the UK. Both singles were included on the part-live, part-studio album The London Chuck Berry Sessions (other albums of London sessions were recorded by Chess's mainstay artists Muddy Waters and Howlin' Wolf). Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until Rock It for Atco Records in 1979, which would be his last studio album for 38 years. In the 1970s Berry toured on the strength of his earlier successes. He was on the road for many years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. AllMusic said that in this period his "live performances became increasingly erratic, ... working with terrible backup bands and turning in sloppy, out-of-tune performances" which "tarnished his reputation with younger fans and oldtimers" alike. In March 1972 he was filmed, at the BBC Television Theatre in Shepherds Bush, for Chuck Berry in Concert, part of a 60-date tour backed by the band Rocking Horse. Among the many bandleaders performing a backup role with Berry in the 1970s were Bruce Springsteen and Steve Miller when each was just starting his career. Springsteen related in the documentary film Hail! Hail! Rock 'n' Roll that Berry did not give the band a set list and expected the musicians to follow his lead after each guitar intro. Berry neither spoke to nor thanked the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995. At the request of Jimmy Carter, Berry performed at the White House on June 1, 1979. Berry's touring style, traveling the "oldies" circuit in the 1970s (often being paid in cash by local promoters) added ammunition to the Internal Revenue Service's accusations that Berry had evaded paying income taxes. Facing criminal sanction for the third time, Berry pleaded guilty to tax evasion and was sentenced to four months in prison and 1,000 hours of community service--performing benefit concerts--in 1979. CANNOTANSWER

Question: any interesting information about Chuck Berry?
Answer: There were no hit singles from the 1970 album Back Home,
Chuck Berry

Context: Berry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, but in 1972 Chess released a live recording of "My Ding-a-Ling", a novelty song which he had recorded in a different version as "My Tambourine" on his 1968 LP From St. Louie to Frisco. The track became his only number-one single. A live recording of "Reelin' and Rockin'", issued as a follow-up single in the same year, was his last Top 40 hit in both the US and the UK. Both singles were included on the part-live, part-studio album The London Chuck Berry Sessions (other albums of London sessions were recorded by Chess's mainstay artists Muddy Waters and Howlin' Wolf). Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until Rock It for Atco Records in 1979, which would be his last studio album for 38 years. In the 1970s Berry toured on the strength of his earlier successes. He was on the road for many years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. AllMusic said that in this period his "live performances became increasingly erratic, ... working with terrible backup bands and turning in sloppy, out-of-tune performances" which "tarnished his reputation with younger fans and oldtimers" alike. In March 1972 he was filmed, at the BBC Television Theatre in Shepherds Bush, for Chuck Berry in Concert, part of a 60-date tour backed by the band Rocking Horse. Among the many bandleaders performing a backup role with Berry in the 1970s were Bruce Springsteen and Steve Miller when each was just starting his career. Springsteen related in the documentary film Hail! Hail! Rock 'n' Roll that Berry did not give the band a set list and expected the musicians to follow his lead after each guitar intro. Berry neither spoke to nor thanked the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995. At the request of Jimmy Carter, Berry performed at the White House on June 1, 1979. Berry's touring style, traveling the "oldies" circuit in the 1970s (often being paid in cash by local promoters) added ammunition to the Internal Revenue Service's accusations that Berry had evaded paying income taxes. Facing criminal sanction for the third time, Berry pleaded guilty to tax evasion and was sentenced to four months in prison and 1,000 hours of community service--performing benefit concerts--in 1979. CANNOTANSWER

Question: When did Chuck Berry quit chess?
Answer: Berry's second tenure with Chess ended with the 1975 album Chuck Berry,