Question: This produces many modes of vibration that occur simultaneously?

Answer: sound generated

<hl> A sound generated on any instrument produces many modes of vibration that occur simultaneously. <hl> A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.

A <hl> sound generated <hl> on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.

question: This produces many modes of vibration that occur simultaneously?, context: A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.


Question: A listener can hear how many frequencies at once?

Answer: numerous

A sound generated on any instrument produces many modes of vibration that occur simultaneously. <hl> A listener hears numerous frequencies at once. <hl> The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.

A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears <hl> numerous <hl> frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.

question: A listener can hear how many frequencies at once?, context: A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.


Question: Harmonics are an important class of what?

Answer: overtones

A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. <hl> The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones . <hl> Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.

A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are <hl> overtones <hl>. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.

The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are <hl> overtones <hl> .

question: Harmonics are an important class of what?, context: A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.


Question: Integer multiples are collectively called?

Answer: the partials

A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. <hl> Whether or not the higher frequencies are integer multiples, they are collectively called the partials , referring to the different parts that make up the total spectrum. <hl>

A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called <hl> the partials <hl>, referring to the different parts that make up the total spectrum.

Whether or not the higher frequencies are integer multiples, they are collectively called <hl> the partials <hl> , referring to the different parts that make up the total spectrum.

question: Integer multiples are collectively called?, context: A sound generated on any instrument produces many modes of vibration that occur simultaneously. A listener hears numerous frequencies at once. The vibration with the lowest frequency is called the fundamental frequency; the other frequencies are overtones. Harmonics are an important class of overtones with frequencies that are integer multiples of the fundamental. Whether or not the higher frequencies are integer multiples, they are collectively called the partials, referring to the different parts that make up the total spectrum.


Question: The pitch of complex tones can be?

Answer: ambiguous

<hl> The pitch of complex tones can be ambiguous , meaning that two or more different pitches can be perceived, depending upon the observer. <hl> When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.

The pitch of complex tones can be <hl> ambiguous <hl>, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.

The pitch of complex tones can be <hl> ambiguous <hl> , meaning that two or more different pitches can be perceived, depending upon the observer.

question: The pitch of complex tones can be?, context: The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.


Question: A complex tone is composed of how many waves?

Answer: two

<hl> The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. <hl> When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.

The pitch of complex tones can be ambiguous, meaning that <hl> two <hl> or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.

question: A complex tone is composed of how many waves?, context: The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.


Question: The percept at 200 Hz is commonly referred to as?

Answer: the missing fundamental

The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. <hl> In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental , which is often the greatest common divisor of the frequencies present. <hl>

The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as <hl> the missing fundamental <hl>, which is often the greatest common divisor of the frequencies present.

In a situation like this, the percept at 200 Hz is commonly referred to as <hl> the missing fundamental <hl> , which is often the greatest common divisor of the frequencies present.

question: The percept at 200 Hz is commonly referred to as?, context: The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.


Question: the percept at 200 Hz is commonly referred to as the missing fundamental, which is often?

Answer: divisor of the frequencies present

The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. <hl> In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present . <hl>

The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common <hl> divisor of the frequencies present <hl>.

In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common <hl> divisor of the frequencies present <hl> .

question: the percept at 200 Hz is commonly referred to as the missing fundamental, which is often?, context: The pitch of complex tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as upper partials, harmonic or otherwise. A complex tone composed of two sine waves of 1000 and 1200 Hz may sometimes be heard as up to three pitches: two spectral pitches at 1000 and 1200 Hz, derived from the physical frequencies of the pure tones, and the combination tone at 200 Hz, corresponding to the repetition rate of the waveform. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, which is often the greatest common divisor of the frequencies present.


Question: The just-noticeable difference, at which a change is perceived depends on what?

Answer: the tone's frequency content

<hl> The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content . <hl> Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.

The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on <hl> the tone's frequency content <hl>. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.

The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on <hl> the tone's frequency content <hl> .

question: The just-noticeable difference, at which a change is perceived depends on what?, context: The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.


Question: The jnd is typically tested by?

Answer: playing two tones in quick succession

The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). <hl> The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. <hl> The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.

The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by <hl> playing two tones in quick succession <hl> with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.

question: The jnd is typically tested by?, context: The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.


Question: What is the range of perceptible pitch steps to human hearing?

Answer: 1,400

The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. <hl> The total number of perceptible pitch steps in the range of human hearing is about 1,400 ; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120. <hl>

The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about <hl> 1,400 <hl>; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.

The total number of perceptible pitch steps in the range of human hearing is about <hl> 1,400 <hl> ; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.

question: What is the range of perceptible pitch steps to human hearing?, context: The just-noticeable difference (jnd) (the threshold at which a change is perceived) depends on the tone's frequency content. Below 500 Hz, the jnd is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the jnd for sine waves is about 0.6% (about 10 cents). The jnd is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. The jnd becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120.


Question: Which drum has a higher perceived pitch even though they both have indefinite pitch?

Answer: snare drum

It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. <hl> For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. <hl> In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.

It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a <hl> snare drum <hl> sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.

question: Which drum has a higher perceived pitch even though they both have indefinite pitch?, context: It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.


Question: Repetition pitch is caused by what phenomenon?

Answer: the addition of a true repetition of the original sound

It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. <hl> This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite. <hl>

It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because <hl> the addition of a true repetition of the original sound <hl> to itself is the basic prerequisite.

question: Repetition pitch is caused by what phenomenon?, context: It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.


Question: It is possible and often easy to roughly discern the relative pitches of two sounds of what?

Answer: indefinite pitch

<hl> It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. <hl> For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.

It is still possible for two sounds of <hl> indefinite pitch <hl> to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.

question: It is possible and often easy to roughly discern the relative pitches of two sounds of what?, context: It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another. For instance, a snare drum sounds higher pitched than a bass drum though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but sounds of indefinite pitch do not neatly correspond to any specific pitch. A special type of pitch often occurs in free nature when sound reaches the ear of an observer directly from the source, and also after reflecting off a sound-reflecting surface. This phenomenon is called repetition pitch, because the addition of a true repetition of the original sound to itself is the basic prerequisite.


Question: The notion of pitch is insensitive to what?

Answer: spelling

For example, one might refer to the A above middle C as a', A4, or 440 Hz. <hl> In standard Western equal temperament, the notion of pitch is insensitive to " spelling ": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. <hl> Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "<hl> spelling <hl>": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

In standard Western equal temperament, the notion of pitch is insensitive to " <hl> spelling <hl> ": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches.

question: The notion of pitch is insensitive to what?, context: For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows


Question: The description "G4 double sharp" refers to the same pitch as what?

Answer: A4

<hl> For example, one might refer to the A above middle C as a', A4 , or 440 Hz. <hl> In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

For example, one might refer to the A above middle C as a', <hl> A4 <hl>, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

For example, one might refer to the A above middle C as a', <hl> A4 <hl> , or 440 Hz.

question: The description "G4 double sharp" refers to the same pitch as what?, context: For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows


Question: Human perception of musical intervals is approximately what?

Answer: logarithmic

For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. <hl> Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. <hl> Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately <hl> logarithmic <hl> with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

question: Human perception of musical intervals is approximately what?, context: For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows


Question: Music theorist represent pitches using what kind of scale?

Answer: numerical

For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. <hl> Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. <hl> For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a <hl> numerical <hl> scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows

question: Music theorist represent pitches using what kind of scale?, context: For example, one might refer to the A above middle C as a', A4, or 440 Hz. In standard Western equal temperament, the notion of pitch is insensitive to "spelling": the description "G4 double sharp" refers to the same pitch as A4; in other temperaments, these may be distinct pitches. Human perception of musical intervals is approximately logarithmic with respect to fundamental frequency: the perceived interval between the pitches "A220" and "A440" is the same as the perceived interval between the pitches A440 and A880. Motivated by this logarithmic perception, music theorists sometimes represent pitches using a numerical scale based on the logarithm of fundamental frequency. For example, one can adopt the widely used MIDI standard to map fundamental frequency, f, to a real number, p, as follows


Question: The precise way this temporal structure helps code for pitch at higher levels is based on what?

Answer: autocorrelation of action potentials in the auditory nerve

Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. <hl> The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve . <hl> However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an <hl> autocorrelation of action potentials in the auditory nerve <hl>. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an <hl> autocorrelation of action potentials in the auditory nerve <hl> .

question: The precise way this temporal structure helps code for pitch at higher levels is based on what?, context: Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.


Question: Is a temporal delay necessary to produce an autocorrelation model of pitch perception?

Answer: unnecessary

Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. <hl> At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. <hl> To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is <hl> unnecessary <hl> to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

question: Is a temporal delay necessary to produce an autocorrelation model of pitch perception?, context: Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.


Question: Pitch perception has inherent octave what?

Answer: ambiguities

Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. <hl> Some theories of pitch perception hold that pitch has inherent octave ambiguities , and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in. <hl>

Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave <hl> ambiguities <hl>, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

Some theories of pitch perception hold that pitch has inherent octave <hl> ambiguities <hl> , and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.

question: Pitch perception has inherent octave what?, context: Temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus. The precise way this temporal structure helps code for pitch at higher levels is still debated, but the processing seems to be based on an autocorrelation of action potentials in the auditory nerve. However, it has long been noted that a neural mechanism that may accomplish a delay—a necessary operation of a true autocorrelation—has not been found. At least one model shows that a temporal delay is unnecessary to produce an autocorrelation model of pitch perception, appealing to phase shifts between cochlear filters; however, earlier work has shown that certain sounds with a prominent peak in their autocorrelation function do not elicit a corresponding pitch percept, and that certain sounds without a peak in their autocorrelation function nevertheless elicit a pitch. To be a more complete model, autocorrelation must therefore apply to signals that represent the output of the cochlea, as via auditory-nerve interspike-interval histograms. Some theories of pitch perception hold that pitch has inherent octave ambiguities, and therefore is best decomposed into a pitch chroma, a periodic value around the octave, like the note names in western music—and a pitch height, which may be ambiguous, that indicates the octave the pitch is in.


Question: When did King Richard I begin his reign?

Answer: 1189

<hl> The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. <hl> The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from <hl> 1189 <hl> to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

question: When did King Richard I begin his reign?, context: The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.


Question: Which animal is the main motif of England's national football team?

Answer: lions

<hl> The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. <hl> The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

The motif of the England national football team has three <hl> lions <hl> passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

question: Which animal is the main motif of England's national football team?, context: The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.


Question: What type of headgear originally appeared on the lions' heads on England's national football team motif?

Answer: a crown

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. <hl> Initially topped by a crown , this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. <hl> Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by <hl> a crown <hl>, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

Initially topped by <hl> a crown <hl> , this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA.

question: What type of headgear originally appeared on the lions' heads on England's national football team motif?, context: The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.


Question: In which year was the FA given an official coat of arms by the College of Arms?

Answer: 1949

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. <hl> Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. <hl> Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in <hl> 1949 <hl> when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

question: In which year was the FA given an official coat of arms by the College of Arms?, context: The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.


Question: Since 2003, England has topped their logo with a star to recognize their World Cup win in which year?

Answer: 1966

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. <hl> Since 2003, England top their logo with a star to recognise their World Cup win in 1966 ; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt. <hl>

The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in <hl> 1966 <hl>; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

Since 2003, England top their logo with a star to recognise their World Cup win in <hl> 1966 <hl> ; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.

question: Since 2003, England has topped their logo with a star to recognize their World Cup win in which year?, context: The motif of the England national football team has three lions passant guardant, the emblem of King Richard I, who reigned from 1189 to 1199. The lions, often blue, have had minor changes to colour and appearance. Initially topped by a crown, this was removed in 1949 when the FA was given an official coat of arms by the College of Arms; this introduced ten Tudor roses, one for each of the regional branches of the FA. Since 2003, England top their logo with a star to recognise their World Cup win in 1966; this was first embroidered onto the left sleeve of the home kit, and a year later was moved to its current position, first on the away shirt.


Question: What color were England's first away kits?

Answer: blue

<hl> Although England's first away kits were blue , England's traditional away colours are red shirts, white shorts and red socks. <hl> In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

Although England's first away kits were <hl> blue <hl>, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

Although England's first away kits were <hl> blue <hl> , England's traditional away colours are red shirts, white shorts and red socks.

question: What color were England's first away kits?, context: Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.


Question: What color are the socks traditionally worn in England's away kits?

Answer: red

<hl> Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. <hl> In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

Although England's first away kits were blue, England's traditional away colours are <hl> red <hl> shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

question: What color are the socks traditionally worn in England's away kits?, context: Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.


Question: Three times in 1996, England wore what color socks in their away kits instead of the traditional red socks?

Answer: grey

Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. <hl> In 1996, England's away kit was changed to grey shirts, shorts and socks. <hl> This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to <hl> grey <hl> shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

question: Three times in 1996, England wore what color socks in their away kits instead of the traditional red socks?, context: Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.


Question: In 2011, England introduced a new away kit in what color?

Answer: navy blue

Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. <hl> This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. <hl> The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a <hl> navy blue <hl> away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.

question: In 2011, England introduced a new away kit in what color?, context: Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.


Question: When a new edition of England's away kit has been introduced, the kit is sometimes worn during what type of matches?

Answer: home matches

Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. <hl> The away kit is also sometimes worn during home matches , when a new edition has been released to promote it. <hl>

Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during <hl> home matches <hl>, when a new edition has been released to promote it.

The away kit is also sometimes worn during <hl> home matches <hl> , when a new edition has been released to promote it.

question: When a new edition of England's away kit has been introduced, the kit is sometimes worn during what type of matches?, context: Although England's first away kits were blue, England's traditional away colours are red shirts, white shorts and red socks. In 1996, England's away kit was changed to grey shirts, shorts and socks. This kit was only worn three times, including against Germany in the semi-final of Euro 96 but the deviation from the traditional red was unpopular with supporters and the England away kit remained red until 2011, when a navy blue away kit was introduced. The away kit is also sometimes worn during home matches, when a new edition has been released to promote it.


Question: In what year was England most recently eliminated from FIFA World Cup contention?

Answer: 2014

England failed to qualify for the World Cup in 1974, 1978 and 1994. <hl> The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. <hl> In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the <hl> 2014 <hl> FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

question: In what year was England most recently eliminated from FIFA World Cup contention?, context: England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.


Question: In 2014, England was eliminated from the World Cup after being defeated by Italy and which other team?

Answer: Uruguay

England failed to qualify for the World Cup in 1974, 1978 and 1994. <hl> The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. <hl> In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and <hl> Uruguay <hl> in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

question: In 2014, England was eliminated from the World Cup after being defeated by Italy and which other team?, context: England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.


Question: In which three years did England fail to qualify for the World Cup?

Answer: 1974, 1978 and 1994

<hl> England failed to qualify for the World Cup in 1974, 1978 and 1994 . <hl> The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

England failed to qualify for the World Cup in <hl> 1974, 1978 and 1994 <hl>. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

England failed to qualify for the World Cup in <hl> 1974, 1978 and 1994 <hl> .

question: In which three years did England fail to qualify for the World Cup?, context: England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.


Question: After the first round of the 2014 FIFA World Cup, how many teams remained in contention?

Answer: sixteen

England failed to qualify for the World Cup in 1974, 1978 and 1994. <hl> The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. <hl> In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 <hl> sixteen <hl> teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

question: After the first round of the 2014 FIFA World Cup, how many teams remained in contention?, context: England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.


Question: What was the final score when, in 2010, England lost to Germany in the Round of 16 of the FIFA World Cup?

Answer: 4–1

England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. <hl> In 2010, England suffered its most resounding World Cup defeat ( 4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage. <hl>

England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (<hl> 4–1 <hl> to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

In 2010, England suffered its most resounding World Cup defeat ( <hl> 4–1 <hl> to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.

question: What was the final score when, in 2010, England lost to Germany in the Round of 16 of the FIFA World Cup?, context: England failed to qualify for the World Cup in 1974, 1978 and 1994. The team's earliest exit in the competition itself was its elimination in the first round in 1950, 1958 and most recently in the 2014 FIFA World Cup, after being defeated in both their opening two matches for the first time, versus Italy and Uruguay in Group D. In 1950, four teams remained after the first round, in 1958 eight teams remained and in 2014 sixteen teams remained. In 2010, England suffered its most resounding World Cup defeat (4–1 to Germany) in the Round of 16, after drawing with the United States and Algeria and defeating Slovenia 1–0 in the group stage.


Question: In what year did England suffer their first defeat at home to a foreign team?

Answer: 1949

<hl> Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. <hl> A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September <hl> 1949 <hl> at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

question: In what year did England suffer their first defeat at home to a foreign team?, context: Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.


Question: What was the final score of England's worst ever defeat?

Answer: 7–1

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. <hl> In the return match in Budapest, Hungary won 7–1 . <hl> This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won <hl> 7–1 <hl>. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

In the return match in Budapest, Hungary won <hl> 7–1 <hl> .

question: What was the final score of England's worst ever defeat?, context: Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.


Question: In what year did England reach the quarter-finals of the FIFA World Cup for the first time?

Answer: 1954

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". <hl> In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay. <hl>

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the <hl> 1954 <hl> FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

question: In what year did England reach the quarter-finals of the FIFA World Cup for the first time?, context: Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.


Question: To whom is the quote "it was like playing men from outer space" attributed?

Answer: Syd Owen

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. <hl> After the game, a bewildered Syd Owen said, "it was like playing men from outer space". <hl> In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered <hl> Syd Owen <hl> said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.

question: To whom is the quote "it was like playing men from outer space" attributed?, context: Their first ever defeat on home soil to a foreign team was an 0–2 loss to the Republic of Ireland, on 21 September 1949 at Goodison Park. A 6–3 loss in 1953 to Hungary, was their second defeat by a foreign team at Wembley. In the return match in Budapest, Hungary won 7–1. This still stands as England's worst ever defeat. After the game, a bewildered Syd Owen said, "it was like playing men from outer space". In the 1954 FIFA World Cup, England reached the quarter-finals for the first time, and lost 4–2 to reigning champions Uruguay.