Question: What instrument did the modern piano take over for in the Romantic era?

Answer: fortepiano

<hl> In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano . <hl> In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding <hl> fortepiano <hl>. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding <hl> fortepiano <hl> .

question: What instrument did the modern piano take over for in the Romantic era?, context: In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.


Question: How many double bass players were typically used in the Baroque orchestra?

Answer: two

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. <hl> For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. <hl> "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had <hl> two <hl> double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

question: How many double bass players were typically used in the Baroque orchestra?, context: In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.


Question: What wasn't rich enough for many Romantic composers?

Answer: the standard orchestral palette

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. <hl> "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." <hl> New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, <hl> the standard orchestral palette <hl> just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

question: What wasn't rich enough for many Romantic composers?, context: In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.


Question: Classical sections were expanded in the Romantic era for a fuller and bigger what?

Answer: sound

<hl> In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate- sound ing fortepiano. <hl> In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-<hl> sound <hl>ing fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate- <hl> sound <hl> ing fortepiano.

question: Classical sections were expanded in the Romantic era for a fuller and bigger what?, context: In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.


Question: What is a celestes?

Answer: a bell-like keyboard instrument

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." <hl> New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes ( a bell-like keyboard instrument ), large orchestral harps, bells, and triangles and even wind machines for sound effects. <hl>

In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (<hl> a bell-like keyboard instrument <hl>), large orchestral harps, bells, and triangles and even wind machines for sound effects.

New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes ( <hl> a bell-like keyboard instrument <hl> ), large orchestral harps, bells, and triangles and even wind machines for sound effects.

question: What is a celestes?, context: In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.


Question: When do saxophones first appear in scores?

Answer: the late 19th century

<hl> Saxophones appear in some scores from the late 19th century onwards. <hl> While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

Saxophones appear in some scores from <hl> the late 19th century <hl> onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

question: When do saxophones first appear in scores?, context: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.


Question: Saxophone was featured as a solo instrument in what Sergei Rachmaninoff piece?

Answer: Symphonic Dances

Saxophones appear in some scores from the late 19th century onwards. <hl> While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances , the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. <hl> The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's <hl> Symphonic Dances <hl>, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's <hl> Symphonic Dances <hl> , the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble.

question: Saxophone was featured as a solo instrument in what Sergei Rachmaninoff piece?, context: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.


Question: How is the saxophone features in Ravel's Bolero?

Answer: as a member of the orchestral ensemble

Saxophones appear in some scores from the late 19th century onwards. <hl> While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble . <hl> The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works <hl> as a member of the orchestral ensemble <hl>. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works <hl> as a member of the orchestral ensemble <hl> .

question: How is the saxophone features in Ravel's Bolero?, context: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.


Question: The euphonium usually played parts marked as what?

Answer: "tenor tuba"

Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. <hl> The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba" , including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben. <hl>

Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked <hl> "tenor tuba" <hl>, including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked <hl> "tenor tuba" <hl> , including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

question: The euphonium usually played parts marked as what?, context: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.


Question: Who wrote The Planets?

Answer: Gustav Holst

Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. <hl> The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst 's The Planets, and Richard Strauss's Ein Heldenleben. <hl>

Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including <hl> Gustav Holst <hl>'s The Planets, and Richard Strauss's Ein Heldenleben.

The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including <hl> Gustav Holst <hl> 's The Planets, and Richard Strauss's Ein Heldenleben.

question: Who wrote The Planets?, context: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.


Question: What is the name of the modified member of the horn family appearing in several works by Strauss?

Answer: The Wagner tuba

<hl> The Wagner tuba , a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. <hl> Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

<hl> The Wagner tuba <hl>, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

<hl> The Wagner tuba <hl> , a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major.

question: What is the name of the modified member of the horn family appearing in several works by Strauss?, context: The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.


Question: Which symphony of Anton Bruckner's does the Wagner tuba have a prominent role in?

Answer: Symphony No. 7 in E Major

<hl> The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major . <hl> Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's <hl> Symphony No. 7 in E Major <hl>. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's <hl> Symphony No. 7 in E Major <hl> .

question: Which symphony of Anton Bruckner's does the Wagner tuba have a prominent role in?, context: The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.


Question: Who wrote the ballet Swan Lake?

Answer: Pyotr Ilyich Tchaikovsky

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. <hl> Cornets appear in Pyotr Ilyich Tchaikovsky 's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. <hl> Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in <hl> Pyotr Ilyich Tchaikovsky <hl>'s ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

Cornets appear in <hl> Pyotr Ilyich Tchaikovsky <hl> 's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz.

question: Who wrote the ballet Swan Lake?, context: The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.


Question: What will orchestras use to augment their regular rosters?

Answer: freelance musicians

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. <hl> Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters. <hl>

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use <hl> freelance musicians <hl> to augment their regular rosters.

question: What will orchestras use to augment their regular rosters?, context: The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.


Question: What Debussy piece features a cornet?

Answer: La Mer

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. <hl> Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer , and several orchestral works by Hector Berlioz. <hl> Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's <hl> La Mer <hl>, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's <hl> La Mer <hl> , and several orchestral works by Hector Berlioz.

question: What Debussy piece features a cornet?, context: The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.


Question: What type of instrument appears occasionally in the 20th and 21st century styles of classical music?

Answer: Electric

<hl> Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. <hl> Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.

<hl> Electric <hl> instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.

question: What type of instrument appears occasionally in the 20th and 21st century styles of classical music?, context: Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.


Question: What type of musicians besides classical have experimented with electronic instruments?

Answer: popular

Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. <hl> Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan. <hl>

Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and <hl> popular <hl> musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.

question: What type of musicians besides classical have experimented with electronic instruments?, context: Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.


Question: What type of instrument is the gamelan?

Answer: electronic

Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. <hl> Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan. <hl>

Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with <hl> electronic <hl> instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.

question: What type of instrument is the gamelan?, context: Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.


Question: In what did the bagpipe fill an important role?

Answer: early classical music,

<hl> Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. <hl> On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

Many instruments today associated with popular music filled important roles in <hl> early classical music, <hl> such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

question: In what did the bagpipe fill an important role?, context: Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.


Question: What instrument gained prominence in the 19th and 20th century?

Answer: the acoustic guitar

Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. <hl> On the other hand, instruments such as the acoustic guitar , once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries. <hl>

Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as <hl> the acoustic guitar <hl>, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

On the other hand, instruments such as <hl> the acoustic guitar <hl> , once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

question: What instrument gained prominence in the 19th and 20th century?, context: Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.


Question: Vihuelas and hurdy-gurdies are currently associated with what type of music?

Answer: popular

<hl> Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. <hl> On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

Many instruments today associated with <hl> popular <hl> music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

question: Vihuelas and hurdy-gurdies are currently associated with what type of music?, context: Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.


Question: What type of temperament became accepted during the 18th century?

Answer: equal temperament

<hl> While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. <hl> For instance, music of the English Renaissance is often performed in meantone temperament.

While <hl> equal temperament <hl> became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.

question: What type of temperament became accepted during the 18th century?, context: While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.


Question: When did equal temperament become accepted as the dominant musical temperament?

Answer: the 18th century

<hl> While equal temperament became gradually accepted as the dominant musical temperament during the 18th century , different historical temperaments are often used for music from earlier periods. <hl> For instance, music of the English Renaissance is often performed in meantone temperament.

While equal temperament became gradually accepted as the dominant musical temperament during <hl> the 18th century <hl>, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.

While equal temperament became gradually accepted as the dominant musical temperament during <hl> the 18th century <hl> , different historical temperaments are often used for music from earlier periods.

question: When did equal temperament become accepted as the dominant musical temperament?, context: While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.


Question: What temperament is the English Renaissance performed in?

Answer: meantone temperament

While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. <hl> For instance, music of the English Renaissance is often performed in meantone temperament . <hl>

While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in <hl> meantone temperament <hl>.

For instance, music of the English Renaissance is often performed in <hl> meantone temperament <hl> .

question: What temperament is the English Renaissance performed in?, context: While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.


Question: What have classical trained performers done extensively?

Answer: studied classical music

<hl> Performers who have studied classical music extensively are said to be "classically trained". <hl> This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.

Performers who have <hl> studied classical music <hl> extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.

question: What have classical trained performers done extensively?, context: Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.


Question: What does a B.mus. or M.mus. degree include?

Answer: individual lessons from professors

Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. <hl> or M.mus. degree (which includes individual lessons from professors ). <hl> In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.

Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes <hl> individual lessons from professors <hl>). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.

or M.mus. degree (which includes <hl> individual lessons from professors <hl> ).

question: What does a B.mus. or M.mus. degree include?, context: Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.


Question: To what level is training for classical music often required?

Answer: postgraduate

Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). <hl> In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required. <hl>

Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to <hl> postgraduate <hl> [Master's degree] level" is required.

question: To what level is training for classical music often required?, context: Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.


Question: Performance of classical music requires proficiency in what type of reading?

Answer: sight-reading

<hl> Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto). <hl>

Performance of classical music repertoire requires a proficiency in <hl> sight-reading <hl> and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).

question: Performance of classical music requires proficiency in what type of reading?, context: Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).


Question: Performance of classical music requires proficiency in what type of principles?

Answer: harmonic

<hl> Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto). <hl>

Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, <hl> harmonic <hl> principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).

question: Performance of classical music requires proficiency in what type of principles?, context: Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).


Question: Familiarty with the style expected for any given composer is required for what kind of performance?

Answer: classical music

<hl> Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto). <hl>

Performance of <hl> classical music <hl> repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).

question: Familiarty with the style expected for any given composer is required for what kind of performance?, context: Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).


Question: What brothers have had significant classical training?

Answer: Van Halen brothers

<hl> Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers , Randy Rhoads and Ritchie Blackmore. <hl> Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the <hl> Van Halen brothers <hl>, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the <hl> Van Halen brothers <hl> , Randy Rhoads and Ritchie Blackmore.

question: What brothers have had significant classical training?, context: Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.


Question: Billy Joel and Elton John have both had what type of training?

Answer: classical

<hl> Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. <hl> Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

Some "popular" genre musicians have had significant <hl> classical <hl> training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

question: Billy Joel and Elton John have both had what type of training?, context: Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.


Question: Rock and pop musicians may have degrees in what type of music?

Answer: commercial

Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. <hl> Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University. <hl>

Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in <hl> commercial <hl> music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

question: Rock and pop musicians may have degrees in what type of music?, context: Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.


Question: What gender of musician has historically made up a large amount of professional orchestras?

Answer: male

<hl> Historically, major professional orchestras have been mostly or entirely composed of male musicians. <hl> Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Historically, major professional orchestras have been mostly or entirely composed of <hl> male <hl> musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

question: What gender of musician has historically made up a large amount of professional orchestras?, context: Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.


Question: Women were first hired in professional orchestras for what position?

Answer: harpist

Historically, major professional orchestras have been mostly or entirely composed of male musicians. <hl> Some of the earliest cases of women being hired in professional orchestras was in the position of harpist . <hl> The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of <hl> harpist <hl>. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Some of the earliest cases of women being hired in professional orchestras was in the position of <hl> harpist <hl> .

question: Women were first hired in professional orchestras for what position?, context: Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.


Question: What year did the Vienna Philharmonic first accept women?

Answer: 1997

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. <hl> The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997 , far later than the other orchestras ranked among the world's top five by Gramophone in 2008. <hl> The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until <hl> 1997 <hl>, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

The Vienna Philharmonic, for example, did not accept women to permanent membership until <hl> 1997 <hl> , far later than the other orchestras ranked among the world's top five by Gramophone in 2008.

question: What year did the Vienna Philharmonic first accept women?, context: Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.


Question: Which major orchestra was the last to appoint a woman to a permanent position?

Answer: the Berlin Philharmonic

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. <hl> The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic . <hl> As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was <hl> the Berlin Philharmonic <hl>. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

The last major orchestra to appoint a woman to a permanent position was <hl> the Berlin Philharmonic <hl> .

question: Which major orchestra was the last to appoint a woman to a permanent position?, context: Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.


Question: Who was the principal flute for the Vienna Philharmonic in 1996?

Answer: Dieter Flury

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. <hl> As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury , told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". <hl> In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, <hl> Dieter Flury <hl>, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

As late as February 1996, the Vienna Philharmonic's principal flute, <hl> Dieter Flury <hl> , told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has".

question: Who was the principal flute for the Vienna Philharmonic in 1996?, context: Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.


Question: In what year did the Vienna Philharmonic face protests in the US?

Answer: 1997

<hl> In 1997 , the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. <hl> Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

In <hl> 1997 <hl>, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

In <hl> 1997 <hl> , the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music.

question: In what year did the Vienna Philharmonic face protests in the US?, context: In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.


Question: Who was the first woman admitted to the Vienna Philharmonic?

Answer: Anna Lelkes

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. <hl> Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes , as harpist." <hl> As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, <hl> Anna Lelkes <hl>, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, <hl> Anna Lelkes <hl> , as harpist."

question: Who was the first woman admitted to the Vienna Philharmonic?, context: In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.


Question: What instrument did Anna Lelkes play?

Answer: harp

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. <hl> Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harp ist." <hl> As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as <hl> harp <hl>ist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as <hl> harp <hl> ist."

question: What instrument did Anna Lelkes play?, context: In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.


Question: How many female members were part of the Vienna Philharmonic in 2013?

Answer: six

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." <hl> As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. <hl> In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has <hl> six <hl> female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

question: How many female members were part of the Vienna Philharmonic in 2013?, context: In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.


Question: Who was the Vienna Philharmonic's first female concertmaster?

Answer: Albena Danailova

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." <hl> As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. <hl> In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist <hl> Albena Danailova <hl> became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

question: Who was the Vienna Philharmonic's first female concertmaster?, context: In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.


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

Answer: female

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

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

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


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

Answer: male

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

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

In 2013, an article in Mother Jones stated that while "[m]any prestigious orchestras have significant fe <hl> male <hl> membership—women outnumber men in the New York Philharmonic's violin section—and several renowned ensembles, including the National Symphony Orchestra, the Detroit Symphony, and the Minnesota Symphony, are led by women violinists", the double bass, brass, and percussion sections of major orchestras "...are still predominantly male."

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