Question: Popper is criticized for dismissing which major philosophers in his work?

Answer: Plato, Hegel and Marx

In 2004, philosopher and psychologist Michel ter Hark (Groningen, The Netherlands) published a book, called Popper, Otto Selz and the rise of evolutionary epistemology, in which he claimed that Popper took some of his ideas from his tutor, the German psychologist Otto Selz. Selz never published his ideas, partly because of the rise of Nazism, which forced him to quit his work in 1933, and the prohibition of referring to Selz' work. <hl> Popper, the historian of ideas and his scholarship, is criticised in some academic quarters for his rejection of Plato, Hegel and Marx . <hl>

In 2004, philosopher and psychologist Michel ter Hark (Groningen, The Netherlands) published a book, called Popper, Otto Selz and the rise of evolutionary epistemology, in which he claimed that Popper took some of his ideas from his tutor, the German psychologist Otto Selz. Selz never published his ideas, partly because of the rise of Nazism, which forced him to quit his work in 1933, and the prohibition of referring to Selz' work. Popper, the historian of ideas and his scholarship, is criticised in some academic quarters for his rejection of <hl> Plato, Hegel and Marx <hl>.

Popper, the historian of ideas and his scholarship, is criticised in some academic quarters for his rejection of <hl> Plato, Hegel and Marx <hl> .

question: Popper is criticized for dismissing which major philosophers in his work?, context: In 2004, philosopher and psychologist Michel ter Hark (Groningen, The Netherlands) published a book, called Popper, Otto Selz and the rise of evolutionary epistemology, in which he claimed that Popper took some of his ideas from his tutor, the German psychologist Otto Selz. Selz never published his ideas, partly because of the rise of Nazism, which forced him to quit his work in 1933, and the prohibition of referring to Selz' work. Popper, the historian of ideas and his scholarship, is criticised in some academic quarters for his rejection of Plato, Hegel and Marx.


Question: Which two prominent scientists advanced theories that John N. Gray claims would never have survived the scientific method Popper describes?

Answer: Darwin and Einstein

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." <hl> By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." <hl> When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of <hl> Darwin and Einstein <hl> at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."

question: Which two prominent scientists advanced theories that John N. Gray claims would never have survived the scientific method Popper describes?, context: According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."


Question: Which work by John Gray challenges Popper's falsificationism?

Answer: Straw Dogs

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." <hl> By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." <hl> When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's <hl> Straw Dogs <hl> states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."

question: Which work by John Gray challenges Popper's falsificationism?, context: According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."


Question: According to Gray, what should have falsified Einstein and Darwin's theories when first proposed?

Answer: available evidence

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." <hl> When they were first advanced, Gray claims, each of them was "at odds with some available evidence ; only later did evidence become available that gave them crucial support." <hl> Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some <hl> available evidence <hl>; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."

When they were first advanced, Gray claims, each of them was "at odds with some <hl> available evidence <hl> ; only later did evidence become available that gave them crucial support."

question: According to Gray, what should have falsified Einstein and Darwin's theories when first proposed?, context: According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."


Question: What kind of thesis does Gray advance about scientific progress?

Answer: irrationalist

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." <hl> Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason." <hl>

According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the <hl> irrationalist <hl> thesis that "the progress of science comes from acting against reason."

question: What kind of thesis does Gray advance about scientific progress?, context: According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason."


Question: Gray's approach aligns with which approach that Popper himself considered untenable?

Answer: inductivist

<hl> Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. <hl> For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very <hl> inductivist <hl> approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:

question: Gray's approach aligns with which approach that Popper himself considered untenable?, context: Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:


Question: A possible rebuttal to Gray's argument appears in Popper's reply to which philosopher?

Answer: Imre Lakatos

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. <hl> Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos : <hl>

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by <hl> Imre Lakatos <hl>:

Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by <hl> Imre Lakatos <hl> :

question: A possible rebuttal to Gray's argument appears in Popper's reply to which philosopher?, context: Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:


Question: What did general relativity do that made it tentatively acceptable when it was proposed?

Answer: explained the empirical refutations of Newton's theory

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. <hl> Moreover, since Einstein also explained the empirical refutations of Newton's theory , general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. <hl> Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also <hl> explained the empirical refutations of Newton's theory <hl>, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:

Moreover, since Einstein also <hl> explained the empirical refutations of Newton's theory <hl> , general relativity was immediately deemed suitable for tentative acceptance on the Popperian account.

question: What did general relativity do that made it tentatively acceptable when it was proposed?, context: Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:


Question: In contrast to Gray, which theory did Popper argue was at least equally consistent with Newton's on the available evidence?

Answer: Einstein's theory

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. <hl> For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. <hl> Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:

Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, <hl> Einstein's theory <hl> was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:

question: In contrast to Gray, which theory did Popper argue was at least equally consistent with Newton's on the available evidence?, context: Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos:


Question: Which type of theory is most falsifiable?

Answer: simplest

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. <hl> Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. <hl> His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or <hl> simplest <hl> theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.

question: Which type of theory is most falsifiable?, context: Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.


Question: What school of philosophy does Popper's thinking on induction oppose?

Answer: positivism

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. <hl> His opposition to positivism , which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. <hl> It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to <hl> positivism <hl>, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.

His opposition to <hl> positivism <hl> , which held that it is the theory most likely to be true that one should prefer, here becomes very apparent.

question: What school of philosophy does Popper's thinking on induction oppose?, context: Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.


Question: For Popper, knowing that a theory is true is what?

Answer: impossible

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. <hl> It is impossible , Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible. <hl>

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is <hl> impossible <hl>, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.

It is <hl> impossible <hl> , Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.

question: For Popper, knowing that a theory is true is what?, context: Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.


Question: What quality of a useful theory must be easily detectable?

Answer: its falsity

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. <hl> It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible. <hl>

Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that <hl> its falsity <hl> can be detected as easily as possible.

question: What quality of a useful theory must be easily detectable?, context: Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible.


Question: Who instigated the 1919 riot that reshaped Popper's political views?

Answer: Communists

<hl> In his early years Popper was impressed by Marxism, whether of Communists or socialists. <hl> An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

In his early years Popper was impressed by Marxism, whether of <hl> Communists <hl> or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

question: Who instigated the 1919 riot that reshaped Popper's political views?, context: In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).


Question: The 1919 riot involving Popper's comrades was part of what larger political move?

Answer: a coup

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. <hl> The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup ; Popper did not know about this at that time. <hl> However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by <hl> a coup <hl>; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by <hl> a coup <hl> ; Popper did not know about this at that time.

question: The 1919 riot involving Popper's comrades was part of what larger political move?, context: In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).


Question: Popper's critique of which doctrine has its origins in first-hand observation of communist agitation?

Answer: historicism

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. <hl> This was the start of his later criticism of historicism . <hl> Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of <hl> historicism <hl>. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

This was the start of his later criticism of <hl> historicism <hl> .

question: Popper's critique of which doctrine has its origins in first-hand observation of communist agitation?, context: In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).


Question: Which historically significant communist activist was associated with the 1919 riots in which some of Popper's friends were killed?

Answer: Béla Kun

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. <hl> The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. <hl> However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to <hl> Béla Kun <hl> tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

question: Which historically significant communist activist was associated with the 1919 riots in which some of Popper's friends were killed?, context: In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).


Question: What did the Marxist rioters believe would cause more death and suffering than their own agitation?

Answer: class struggle

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine <hl> that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. <hl> This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that <hl> class struggle <hl> would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).

question: What did the Marxist rioters believe would cause more death and suffering than their own agitation?, context: In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality).


Question: What country did the mandolin originate from?

Answer: Italian

<hl> A mandolin ( Italian : mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". <hl> It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (<hl> Italian <hl>: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin ( <hl> Italian <hl> : mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick".

question: What country did the mandolin originate from?, context: A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.


Question: What does mandolin translate to?

Answer: small mandola

<hl> A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally " small mandola ") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". <hl> It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "<hl> small mandola <hl>") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally " <hl> small mandola <hl> ") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick".

question: What does mandolin translate to?, context: A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.


Question: What musical family does the mandolin come from?

Answer: lute family

<hl> A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". <hl> It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the <hl> lute family <hl> and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

question: What musical family does the mandolin come from?, context: A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.


Question: How is the mandolin usually played?

Answer: usually plucked with a plectrum or "pick"

<hl> A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick" . <hl> It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is <hl> usually plucked with a plectrum or "pick" <hl>. It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is <hl> usually plucked with a plectrum or "pick" <hl> .

question: How is the mandolin usually played?, context: A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.


Question: How many courses does a mandolin commonly have?

Answer: four

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". <hl> It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. <hl> The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has <hl> four <hl> courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.

question: How many courses does a mandolin commonly have?, context: A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass.


Question: What are the four common styles of mandolins?

Answer: the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin.

<hl> There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. <hl> The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

There are many styles of mandolin, but four are common, <hl> the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. <hl> The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

question: What are the four common styles of mandolins?, context: There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.


Question: What is the round-back mandolin made of?

Answer: strips of wood, glued together into a bowl

There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. <hl> The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl . <hl> The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of <hl> strips of wood, glued together into a bowl <hl>. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

The round-back has a deep bottom, constructed of <hl> strips of wood, glued together into a bowl <hl> .

question: What is the round-back mandolin made of?, context: There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.


Question: Which style of mandolin has a shallower, arched back, and arched top?

Answer: round-back

<hl> There are many styles of mandolin, but four are common, the Neapolitan or round-back ed mandolin, the carved-top mandolin and the flat-backed mandolin. <hl> The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

There are many styles of mandolin, but four are common, the Neapolitan or <hl> round-back <hl>ed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

There are many styles of mandolin, but four are common, the Neapolitan or <hl> round-back <hl> ed mandolin, the carved-top mandolin and the flat-backed mandolin.

question: Which style of mandolin has a shallower, arched back, and arched top?, context: There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.


Question: Which form of music do Neapolitan mandolins feature?

Answer: European classical music and traditional music.

There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. <hl> Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. <hl> Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in <hl> European classical music and traditional music. <hl> Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

question: Which form of music do Neapolitan mandolins feature?, context: There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.


Question: Which mandolin is commin in American Folk music and blue grass music?

Answer: Carved-top instruments

There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. <hl> Carved-top instruments are common in American folk music and bluegrass music. <hl> Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. <hl> Carved-top instruments <hl> are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

question: Which mandolin is commin in American Folk music and blue grass music?, context: There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.


Question: What did most of the development of the mandolin revolve around?

Answer: soundboard (the top)

<hl> Much of mandolin development revolved around the soundboard (the top) . <hl> Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Much of mandolin development revolved around the <hl> soundboard (the top) <hl>. Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Much of mandolin development revolved around the <hl> soundboard (the top) <hl> .

question: What did most of the development of the mandolin revolve around?, context: Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.


Question: Were premandolins quiet or loud instruments?

Answer: quiet instruments

Much of mandolin development revolved around the soundboard (the top). <hl> Pre-mandolin instruments were quiet instruments , strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. <hl> However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were <hl> quiet instruments <hl>, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Pre-mandolin instruments were <hl> quiet instruments <hl> , strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill.

question: Were premandolins quiet or loud instruments?, context: Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.


Question: What are modern mandolins' strings made of?

Answer: four courses of metal strings,

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. <hl> However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. <hl> The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using <hl> four courses of metal strings, <hl> which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

question: What are modern mandolins' strings made of?, context: Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.


Question: What is the most common soundboard shape?

Answer: generally round or teardrop-shaped

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. <hl> The soundboard comes in many shapes—but generally round or teardrop-shaped , sometimes with scrolls or other projections. <hl> There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but <hl> generally round or teardrop-shaped <hl>, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

The soundboard comes in many shapes—but <hl> generally round or teardrop-shaped <hl> , sometimes with scrolls or other projections.

question: What is the most common soundboard shape?, context: Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.


Question: What are the sound holes covered with?

Answer: bordered with decorative rosettes or purfling

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). <hl> A round or oval sound hole may be covered or bordered with decorative rosettes or purfling . <hl>

Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or <hl> bordered with decorative rosettes or purfling <hl>.

A round or oval sound hole may be covered or <hl> bordered with decorative rosettes or purfling <hl> .

question: What are the sound holes covered with?, context: Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.


Question: Who introduced the lute to Spain?

Answer: the Moors

<hl> Beside the introduction of the lute to Spain (Andalusia) by the Moors , another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. <hl> There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Beside the introduction of the lute to Spain (Andalusia) by <hl> the Moors <hl>, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Beside the introduction of the lute to Spain (Andalusia) by <hl> the Moors <hl> , another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians.

question: Who introduced the lute to Spain?, context: Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.


Question: What country helped transfer the lute from Arabian to European culture?

Answer: Sicily

<hl> Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily , where it was brought either by Byzantine or later by Muslim musicians. <hl> There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was <hl> Sicily <hl>, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was <hl> Sicily <hl> , where it was brought either by Byzantine or later by Muslim musicians.

question: What country helped transfer the lute from Arabian to European culture?, context: Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.


Question: Who brought the lute to Sicily?

Answer: Byzantine or later by Muslim musicians

<hl> Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians . <hl> There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by <hl> Byzantine or later by Muslim musicians <hl>. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by <hl> Byzantine or later by Muslim musicians <hl> .

question: Who brought the lute to Sicily?, context: Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.