Question: Where can you see mandolins a part of in Portgal?

Answer: traditional and folk culture

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. <hl> Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. <hl> Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the <hl> traditional and folk culture <hl> of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.


Question: Where is the Portuguese mandolin scene located?

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.

Answer: Madeira Island

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. <hl> Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island . <hl> Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in <hl> Madeira Island <hl>. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.

Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in <hl> Madeira Island <hl> .


Question: How many active mandolin orchestras does the Madiera Island have?

Answer: over 17

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. <hl> Madeira has over 17 active mandolin Orchestras and Tunas. <hl> The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.

The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has <hl> over 17 <hl> active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.


Question: Who is a famous British player?

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

Answer: Simon Mayor

The mandolin has been used extensively in the traditional music of England and Scotland for generations. <hl> Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. <hl> The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

The mandolin has been used extensively in the traditional music of England and Scotland for generations. <hl> Simon Mayor <hl> is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]


Question: What did Simon mayer produce?

Answer: six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents.

The mandolin has been used extensively in the traditional music of England and Scotland for generations. <hl> Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. <hl> The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced <hl> six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. <hl> The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]


Question: Who played the mandolin on the album Tubular Bells?

Answer: Mike Oldfield

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. <hl> The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). <hl> It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by <hl> Mike Oldfield <hl> (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]


Question: What was UK's biggest selling album?

Answer: "Fog on the Tyne

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). <hl> It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne " was the biggest selling UK album of 1971-1972. <hl> The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose <hl> "Fog on the Tyne <hl>" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose <hl> "Fog on the Tyne <hl> " was the biggest selling UK album of 1971-1972.


Question: What song by Rod Stewart used the mandolin?

Answer: Maggie May

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. <hl> Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. <hl> It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]

The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. <hl> Maggie May <hl> by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]


Question: What group in the US was popular?

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

Answer: Estudiantina Figaro

<hl> The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro , or in the United States, simply the "Spanish Students." <hl> The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the <hl> Estudiantina Figaro <hl>, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the <hl> Estudiantina Figaro <hl> , or in the United States, simply the "Spanish Students."


Question: When did the Estudiantina Figaro come to the US?

Answer: January 2, 1880

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." <hl> The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. <hl> Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on <hl> January 2, 1880 <hl> in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.


Question: Where did the Estudiantina Figaro play?

Answer: Boston and New York

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." <hl> The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. <hl> Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in <hl> Boston and New York <hl> to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.


Question: What group was inspired by the Estudiantina Figaro?

Answer: Original Spanish Students

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. <hl> An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the " Original Spanish Students ," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. <hl> The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "<hl> Original Spanish Students <hl>," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the " <hl> Original Spanish Students <hl> ," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins.


Question: What did the Origianl Spanish Students expect the American public not to know?

Answer: the difference between the Spanish bandurrias and Italian mandolins

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. <hl> An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins . <hl> The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know <hl> the difference between the Spanish bandurrias and Italian mandolins <hl>. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.

An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know <hl> the difference between the Spanish bandurrias and Italian mandolins <hl> .


Question: When did madolin awareness in the US become fluent?

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

Answer: 1880s

<hl> Mandolin awareness in the United States blossomed in the 1880s , as the instrument became part of a fad that continued into the mid-1920s. <hl> According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

Mandolin awareness in the United States blossomed in the <hl> 1880s <hl>, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

Mandolin awareness in the United States blossomed in the <hl> 1880s <hl> , as the instrument became part of a fad that continued into the mid-1920s.


Question: When was the first madolin made in the US?

Answer: 1883 or 1884

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. <hl> According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. <hl> Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in <hl> 1883 or 1884 <hl> by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.


Question: Who made the first US mandolin?

Answer: Joseph Bohm

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. <hl> According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohm ann, who was an established maker of violins in Chicago. <hl> Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by <hl> Joseph Bohm <hl>ann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by <hl> Joseph Bohm <hl> ann, who was an established maker of violins in Chicago.


Question: Where was Joseph Bohmann from?

Answer: Chicago

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. <hl> According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago . <hl> Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in <hl> Chicago <hl>. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.

According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in <hl> Chicago <hl> .


Question: What type of madolin was Partee using ?

Answer: French-made mandolin

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. <hl> At the time, Partee was using an imported French-made mandolin . <hl>

Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported <hl> French-made mandolin <hl>.

At the time, Partee was using an imported <hl> French-made mandolin <hl> .


Question: What popular musical casted a teacher-dealer?

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Answer: The Music Man

<hl> Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man . <hl> Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical <hl> The Music Man <hl>. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical <hl> The Music Man <hl> .


Question: What did these teacher-dealers often conduct?

Answer: mandolin orchestras

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. <hl> Often, these teacher-dealers conducted mandolin orchestras : groups of 4-50 musicians who played various mandolin family instruments. <hl> However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted <hl> mandolin orchestras <hl>: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Often, these teacher-dealers conducted <hl> mandolin orchestras <hl> : groups of 4-50 musicians who played various mandolin family instruments.


Question: How many people were usually in these teacher-dealer orchestras?

Answer: 4-50 musicians

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. <hl> Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. <hl> However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of <hl> 4-50 musicians <hl> who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.


Question: Who played the mandolin in Vaudeville?

Answer: Samuel Siegel

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. <hl> Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. <hl> Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. <hl> Samuel Siegel <hl> played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.


Question: Who was the famous African American musican and director?

Answer: composer James Reese Europe.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. <hl> Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. <hl> Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.

Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was <hl> composer James Reese Europe. <hl> W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.


Question: The setting the mandolin was used in until the 1930's was?

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.

Answer: ensemble setting

<hl> The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. <hl> The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.

The instrument was primarily used in an <hl> ensemble setting <hl> well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.


Question: Where did the mandolins find a new home?

Answer: bluegrass

<hl> The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass . <hl> The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in <hl> bluegrass <hl>. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in <hl> bluegrass <hl> .


Question: What mandolin was designed to boost interest in the mandolin?

Answer: Lloyd Loar Master Model from Gibson

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. <hl> The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. <hl> However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous <hl> Lloyd Loar Master Model from Gibson <hl> (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.


Question: What mandolin became the face of bluegrass music?

Answer: Loar

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. <hl> The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. <hl> However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd <hl> Loar <hl> Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.


Question: What instrument did artist Bill Monroe use?

Answer: F-5 S/N 73987

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. <hl> However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument. <hl>

The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased <hl> F-5 S/N 73987 <hl> in a Florida barbershop in 1943 and popularized it as his main instrument.


Question: What groups have become popular amonbgpublic schools?

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

Answer: mandolin-based guitar programs

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. <hl> Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. <hl> The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school <hl> mandolin-based guitar programs <hl> have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.


Question: What are two of the popular public school groups?

Answer: Fretworks Mandolin and Guitar Orchestra

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. <hl> Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra , the first of its kind. <hl> The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including <hl> Fretworks Mandolin and Guitar Orchestra <hl>, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including <hl> Fretworks Mandolin and Guitar Orchestra <hl> , the first of its kind.


Question: Who found the Classical Mandolin Society of America?

Answer: Norman Levine

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. <hl> The national organization, Classical Mandolin Society of America, founded by Norman Levine , represents these groups. <hl> Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by <hl> Norman Levine <hl>, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

The national organization, Classical Mandolin Society of America, founded by <hl> Norman Levine <hl> , represents these groups.


Question: Who are modern mandolinists and composers?

Answer: Samuel Firstman, Howard Fry, Rudy Cipolla

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. <hl> Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla , Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek. <hl>

The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include <hl> Samuel Firstman, Howard Fry, Rudy Cipolla <hl>, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.

Prominent modern mandolinists and composers for mandolin in the classical music tradition include <hl> Samuel Firstman, Howard Fry, Rudy Cipolla <hl> , Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.


Question: What family recorded an old-time music in 1924-1926?

When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.

Answer: Cowan Powers and his family

<hl> When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. <hl> By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.

When <hl> Cowan Powers and his family <hl> recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.