nc33/multispan_quoref huggingface dataset:
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the first name of the person who said Tchaikovsky kept sonata form only as an "outline?"
Answer: Daniel
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the first name of the person who said Tchaikovsky placed blocks of dissimilar tonal material alongside thematic material with "new and violent contrasts" between musical themes, keys and harmonies?
Answer: Hans
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the first name of the person who, with Brown, said that Tchaikovsky's process builds momentum and adds intense drama?
Answer: Hans
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the name of the person that composed the Fourth Symphony?
Answer: Tchaikovsky
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the name of the person that essentially sidestepped thematic interaction and kept sonata form only as an "outline"?
Answer: Tchaikovsky
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the name of the person that created "new and violent contrasts" between musical themes, keys, and harmonies?
Answer: Tchaikovsky
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the name of the person that said Tchaikovsky's music has the mark of the truly lived and felt experience?
Answer: Hermann Kretzschmar
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the last name of the person that wrote that listening to the music of the man who struggled with sonata form "...reflected on the dynamic nature of the listener’s own emotional self"?
Answer: Botstein
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What is the last name of the writer who said the later works of the man who people claimed was unable to develop themes had "full images of life"?
Answer: Kretzschmar
Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense".

Question: What other famous composer have Russians placed the man who struggled with sonata form alongside?
Answer: Dostoyevsky
Steamtown, U.S.A., was a steam locomotive museum that ran steam excursions out of North Walpole, New Hampshire, and Bellows Falls, Vermont, from the 1960s to 1983. The museum was founded by millionaire seafood industrialist F. Nelson Blount.  The non-profit Steamtown Foundation took over operations following his death in 1967. Because of Vermont's air quality regulations restricting steam excursions, declining visitor attendance, and disputes over the use of track, some pieces of the collection were relocated to Scranton, Pennsylvania, in the mid-1980s and the rest were auctioned off. After the move, Steamtown continued to operate in Scranton but failed to attract the expected 200,000–400,000 visitors.  Within two years the tourist attraction was facing bankruptcy, and more pieces of the collection were sold to pay off debt.
In 1986, the United States House of Representatives, under the urging of Pennsylvania Representative Joseph M. McDade, voted to approve $8 million to study the collection and to begin the process of making it a National Historic Site. As a result, the National Park Service (NPS) conducted historical research on the equipment that remained in the Foundation's possession. This research was used as a Scope of Collections Statement for the Steamtown National Historic Site.  The scope was published in 1991 under the title Steamtown Special History Study. The report provided concise histories of each piece of equipment and made recommendations as to whether or not each piece belonged in the soon-to-be government-funded collection.
By 1995, Steamtown had been acquired and developed by the NPS with a $66 million allocation. Several more pieces have been removed from the collection as a result of the government acquisition. Part of the Blount collection is still on display at the Steamtown National Historic Site in Scranton.

Question: What is the name of the research conducted by the NPS after it was released in 1991?
Answer: Steamtown Special History Study
Steamtown, U.S.A., was a steam locomotive museum that ran steam excursions out of North Walpole, New Hampshire, and Bellows Falls, Vermont, from the 1960s to 1983. The museum was founded by millionaire seafood industrialist F. Nelson Blount.  The non-profit Steamtown Foundation took over operations following his death in 1967. Because of Vermont's air quality regulations restricting steam excursions, declining visitor attendance, and disputes over the use of track, some pieces of the collection were relocated to Scranton, Pennsylvania, in the mid-1980s and the rest were auctioned off. After the move, Steamtown continued to operate in Scranton but failed to attract the expected 200,000–400,000 visitors.  Within two years the tourist attraction was facing bankruptcy, and more pieces of the collection were sold to pay off debt.
In 1986, the United States House of Representatives, under the urging of Pennsylvania Representative Joseph M. McDade, voted to approve $8 million to study the collection and to begin the process of making it a National Historic Site. As a result, the National Park Service (NPS) conducted historical research on the equipment that remained in the Foundation's possession. This research was used as a Scope of Collections Statement for the Steamtown National Historic Site.  The scope was published in 1991 under the title Steamtown Special History Study. The report provided concise histories of each piece of equipment and made recommendations as to whether or not each piece belonged in the soon-to-be government-funded collection.
By 1995, Steamtown had been acquired and developed by the NPS with a $66 million allocation. Several more pieces have been removed from the collection as a result of the government acquisition. Part of the Blount collection is still on display at the Steamtown National Historic Site in Scranton.

Question: What is the partial collection that the government received from Steamtown that is still on display in Scranton?
Answer: Blount collection
F. Nelson Blount, the heir to the largest seafood processor in the United States, was an avid railroad enthusiast.  When he was just seventeen years old he wrote a book on steam power.  Acquiring the narrow-gauge Edaville Railroad in Carver, Massachusetts in 1955, he began amassing one of the largest collections of antique steam locomotives in the United States.  By 1964, another part of his collection housed at North Walpole, New Hampshire consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock.  The Monadnock, Steamtown & Northern Railroad, as the enterprise was then called, ran excursions between Keene and Westmoreland, New Hampshire.  In addition to Edaville Railroad and Steamtown, Blount also ran excursions at Pleasure Island in Wakefield, Massachusetts and Freedomland U.S.A. in New York City.  In the early 1960s, Blount came close to entering into an agreement with the state of New Hampshire in which he would donate 20 locomotives to a museum which was to be located in Keene.  However, the plan, which was originally approved by New Hampshire governor Wesley Powell, in 1962, was later rejected by the new governor, John W. King. An advisory committee had said of the proposed plan, that it "does not take advantage of anything that is singularly and peculiarly New Hampshire."In 1964, incorporation papers were filed for the "Steamtown Foundation for the Preservation of Steam and Railroad Americana".  The non-profit charitable, educational organization was to have nine non-salaried directors, including the five incorporators of which Blount was one.  The other incorporators were former New Hampshire governor, Lane Dwinell; Emile Bussiere; Robert L. Mallat, Jr., mayor of Keene; and Bellows Falls Municipal Judge, Thomas P. Salmon, who later became governor of Vermont.  The president of the Campbell Soup Company, William B. Murphy, who had also served as National Chairman of Radio Free Europe, and Fredrick Richardson, then vice president of Blount Seafood, were among the other directors.  The first order of business for the Steamtown Foundation was to acquire the Blount collection at North Walpole, and relocate it to property once owned by the Rutland Railroad, in Bellows Falls, Vermont.

Question: What is the last name of the person who wrote a book on steam power at the age of seventeen?
Answer: Blount
F. Nelson Blount, the heir to the largest seafood processor in the United States, was an avid railroad enthusiast.  When he was just seventeen years old he wrote a book on steam power.  Acquiring the narrow-gauge Edaville Railroad in Carver, Massachusetts in 1955, he began amassing one of the largest collections of antique steam locomotives in the United States.  By 1964, another part of his collection housed at North Walpole, New Hampshire consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock.  The Monadnock, Steamtown & Northern Railroad, as the enterprise was then called, ran excursions between Keene and Westmoreland, New Hampshire.  In addition to Edaville Railroad and Steamtown, Blount also ran excursions at Pleasure Island in Wakefield, Massachusetts and Freedomland U.S.A. in New York City.  In the early 1960s, Blount came close to entering into an agreement with the state of New Hampshire in which he would donate 20 locomotives to a museum which was to be located in Keene.  However, the plan, which was originally approved by New Hampshire governor Wesley Powell, in 1962, was later rejected by the new governor, John W. King. An advisory committee had said of the proposed plan, that it "does not take advantage of anything that is singularly and peculiarly New Hampshire."In 1964, incorporation papers were filed for the "Steamtown Foundation for the Preservation of Steam and Railroad Americana".  The non-profit charitable, educational organization was to have nine non-salaried directors, including the five incorporators of which Blount was one.  The other incorporators were former New Hampshire governor, Lane Dwinell; Emile Bussiere; Robert L. Mallat, Jr., mayor of Keene; and Bellows Falls Municipal Judge, Thomas P. Salmon, who later became governor of Vermont.  The president of the Campbell Soup Company, William B. Murphy, who had also served as National Chairman of Radio Free Europe, and Fredrick Richardson, then vice president of Blount Seafood, were among the other directors.  The first order of business for the Steamtown Foundation was to acquire the Blount collection at North Walpole, and relocate it to property once owned by the Rutland Railroad, in Bellows Falls, Vermont.

Question: What is the last name of the person who began amassing one of the largest collections of antique steam locomotives in the United States?
Answer: Blount
F. Nelson Blount, the heir to the largest seafood processor in the United States, was an avid railroad enthusiast.  When he was just seventeen years old he wrote a book on steam power.  Acquiring the narrow-gauge Edaville Railroad in Carver, Massachusetts in 1955, he began amassing one of the largest collections of antique steam locomotives in the United States.  By 1964, another part of his collection housed at North Walpole, New Hampshire consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock.  The Monadnock, Steamtown & Northern Railroad, as the enterprise was then called, ran excursions between Keene and Westmoreland, New Hampshire.  In addition to Edaville Railroad and Steamtown, Blount also ran excursions at Pleasure Island in Wakefield, Massachusetts and Freedomland U.S.A. in New York City.  In the early 1960s, Blount came close to entering into an agreement with the state of New Hampshire in which he would donate 20 locomotives to a museum which was to be located in Keene.  However, the plan, which was originally approved by New Hampshire governor Wesley Powell, in 1962, was later rejected by the new governor, John W. King. An advisory committee had said of the proposed plan, that it "does not take advantage of anything that is singularly and peculiarly New Hampshire."In 1964, incorporation papers were filed for the "Steamtown Foundation for the Preservation of Steam and Railroad Americana".  The non-profit charitable, educational organization was to have nine non-salaried directors, including the five incorporators of which Blount was one.  The other incorporators were former New Hampshire governor, Lane Dwinell; Emile Bussiere; Robert L. Mallat, Jr., mayor of Keene; and Bellows Falls Municipal Judge, Thomas P. Salmon, who later became governor of Vermont.  The president of the Campbell Soup Company, William B. Murphy, who had also served as National Chairman of Radio Free Europe, and Fredrick Richardson, then vice president of Blount Seafood, were among the other directors.  The first order of business for the Steamtown Foundation was to acquire the Blount collection at North Walpole, and relocate it to property once owned by the Rutland Railroad, in Bellows Falls, Vermont.

Question: What is the last name of the person whose collected housed at North Walpole consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock?
Answer: Blount
F. Nelson Blount, the heir to the largest seafood processor in the United States, was an avid railroad enthusiast.  When he was just seventeen years old he wrote a book on steam power.  Acquiring the narrow-gauge Edaville Railroad in Carver, Massachusetts in 1955, he began amassing one of the largest collections of antique steam locomotives in the United States.  By 1964, another part of his collection housed at North Walpole, New Hampshire consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock.  The Monadnock, Steamtown & Northern Railroad, as the enterprise was then called, ran excursions between Keene and Westmoreland, New Hampshire.  In addition to Edaville Railroad and Steamtown, Blount also ran excursions at Pleasure Island in Wakefield, Massachusetts and Freedomland U.S.A. in New York City.  In the early 1960s, Blount came close to entering into an agreement with the state of New Hampshire in which he would donate 20 locomotives to a museum which was to be located in Keene.  However, the plan, which was originally approved by New Hampshire governor Wesley Powell, in 1962, was later rejected by the new governor, John W. King. An advisory committee had said of the proposed plan, that it "does not take advantage of anything that is singularly and peculiarly New Hampshire."In 1964, incorporation papers were filed for the "Steamtown Foundation for the Preservation of Steam and Railroad Americana".  The non-profit charitable, educational organization was to have nine non-salaried directors, including the five incorporators of which Blount was one.  The other incorporators were former New Hampshire governor, Lane Dwinell; Emile Bussiere; Robert L. Mallat, Jr., mayor of Keene; and Bellows Falls Municipal Judge, Thomas P. Salmon, who later became governor of Vermont.  The president of the Campbell Soup Company, William B. Murphy, who had also served as National Chairman of Radio Free Europe, and Fredrick Richardson, then vice president of Blount Seafood, were among the other directors.  The first order of business for the Steamtown Foundation was to acquire the Blount collection at North Walpole, and relocate it to property once owned by the Rutland Railroad, in Bellows Falls, Vermont.

Question: What is the full incorporated name of the educational organization that was to have nine non-salaried directors, including the five incorporators of which Blount was one?
Answer: Steamtown Foundation for the Preservation of Steam and Railroad Americana
F. Nelson Blount was killed when his private airplane hit a tree during an emergency landing, in Marlboro, New Hampshire, on August 31, 1967. By that time a good deal of Blount's collection was controlled by the Steamtown Foundation and had been relocated to Bellows Falls. Blount owned several corporations and one, the Green Mountain Railroad (GMRC), controlled the tracks that lay between Walpole, Bellows Falls and Chester, Vermont, which Steamtown was to use for its excursions. When Blount died most of the controlling stock of the GMRC was transferred to the president of the railroad, Robert Adams.
Throughout its tenure in Vermont, Steamtown provided several types of excursions, primarily in the summer and during the peak foliage season of the autumn.  Occasionally, these trips would be lengthy, like one that ran from Boston to Montreal, or those that ran between Bellows Falls and Rutland, Vermont.  On a daily basis the excursions ran from Riverside station in Bellows Falls to Chester depot.  The cost of the trip, which in 1977 was $5.75 for an adult and $2.95 for a child, was combined with entrance into the museum, which was the grounds of Riverside station. The station was located about 2 miles (3 km) outside of town and was situated on the bank of the Connecticut River.  One newspaper travel writer, Bill Rice, described the 13-mile (21 km) trip from Riverside to Chester: "The trip to Chester affords a beautiful view of unspoiled Vermont countryside-covered bridges, vintage farms with grazing livestock and cornfield and a winding river with a deep gorge and picturesque waterfall." The river that Rice referred to was the Williams River, which crossed the route of the train seven times.  The waterfall was at Brockway Mills Gorge and was seen from a bridge 100 feet (30 m) above the gorge.  Rice also said that at the time he was writing, 1977, Steamtown had the largest collection of steam locomotives in the world.In 1971, the Board of Health of Vermont issued a waiver to the GMRC for Vermont's air pollution regulations.  The waiver permitted the operation of steam locomotive excursions between Steamtown's Riverside station at Bellows Falls, and Chester depot.  In 1974, as the state of Vermont prepared for its celebration of the country's bicentenary, in which the Steamtown excursion featured prominently, the subject of the air pollution regulations came up again.  The tourist attraction was operating on temporary permits that allowed it to operate excursions in Vermont.  By 1976, the relationship between Steamtown and GMRC deteriorated as the two organizations fought over maintenance of the tracks, which were owned by the state of Vermont.

Question: What was the last name of the person whose collection was relocated to Bellow Falls?
Answer: Blount
F. Nelson Blount was killed when his private airplane hit a tree during an emergency landing, in Marlboro, New Hampshire, on August 31, 1967. By that time a good deal of Blount's collection was controlled by the Steamtown Foundation and had been relocated to Bellows Falls. Blount owned several corporations and one, the Green Mountain Railroad (GMRC), controlled the tracks that lay between Walpole, Bellows Falls and Chester, Vermont, which Steamtown was to use for its excursions. When Blount died most of the controlling stock of the GMRC was transferred to the president of the railroad, Robert Adams.
Throughout its tenure in Vermont, Steamtown provided several types of excursions, primarily in the summer and during the peak foliage season of the autumn.  Occasionally, these trips would be lengthy, like one that ran from Boston to Montreal, or those that ran between Bellows Falls and Rutland, Vermont.  On a daily basis the excursions ran from Riverside station in Bellows Falls to Chester depot.  The cost of the trip, which in 1977 was $5.75 for an adult and $2.95 for a child, was combined with entrance into the museum, which was the grounds of Riverside station. The station was located about 2 miles (3 km) outside of town and was situated on the bank of the Connecticut River.  One newspaper travel writer, Bill Rice, described the 13-mile (21 km) trip from Riverside to Chester: "The trip to Chester affords a beautiful view of unspoiled Vermont countryside-covered bridges, vintage farms with grazing livestock and cornfield and a winding river with a deep gorge and picturesque waterfall." The river that Rice referred to was the Williams River, which crossed the route of the train seven times.  The waterfall was at Brockway Mills Gorge and was seen from a bridge 100 feet (30 m) above the gorge.  Rice also said that at the time he was writing, 1977, Steamtown had the largest collection of steam locomotives in the world.In 1971, the Board of Health of Vermont issued a waiver to the GMRC for Vermont's air pollution regulations.  The waiver permitted the operation of steam locomotive excursions between Steamtown's Riverside station at Bellows Falls, and Chester depot.  In 1974, as the state of Vermont prepared for its celebration of the country's bicentenary, in which the Steamtown excursion featured prominently, the subject of the air pollution regulations came up again.  The tourist attraction was operating on temporary permits that allowed it to operate excursions in Vermont.  By 1976, the relationship between Steamtown and GMRC deteriorated as the two organizations fought over maintenance of the tracks, which were owned by the state of Vermont.

Question: What was the initials of the railroad where the stock was transferred to the president when Blount died?
Answer: GMRC