praj-17/QA-MCQ-Open-ended huggingface dataset:
Title: Textual_criticism
Context: Shemaryahu Talmon, who summarized the amount of consensus and genetic relation to the Urtext of the Hebrew Bible, concluded that major divergences which intrinsically affect the sense are extremely rare. As far as the Hebrew Bible referenced by Old Testament is concerned, almost all of the textual variants are fairly insignificant and hardly affect any doctrine. Professor Douglas Stuart states: "It is fair to say that the verses, chapters, and books of the Bible would read largely the same, and would leave the same impression with the reader, even if one adopted virtually every possible alternative reading to those now serving as the basis for current English translations."

question: How common are variations in text that alter the meaning of the Urtext of the Hebrew Bible? 

answer: extremely rare

question: To what degree do variations in the Old Testament alter the meaning? 

answer: hardly affect any doctrine

question: Who claims that the Old Testament is essentially the same throughout all variations? 

answer: Professor Douglas Stuart

question: How many variations of the Old Testament offer the same meaning? 

answer: virtually every possible alternative reading
Title: Textual_criticism
Context: While textual criticism developed into a discipline of thorough analysis of the Bible — both the Hebrew Bible and the New Testament — scholars also use it to determine the original content of classic texts, such as Plato's Republic. There are far fewer witnesses to classical texts than to the Bible, so scholars can use stemmatics and, in some cases, copy text editing. However, unlike the New Testament where the earliest witnesses are within 200 years of the original, the earliest existing manuscripts of most classical texts were written about a millennium after their composition. All things being equal, textual scholars expect that a larger time gap between an original and a manuscript means more changes in the text.

question: Does the Bible or Plato's Republic have more witnesses? 

answer: There are far fewer witnesses to classical texts than to the Bible

question: What's the gap between original Christian texts and subsequent editions of the same works? 

answer: within 200 years

question: What's the gap between original classical texts and subsequent editions of the same works? 

answer: about a millennium after their composition

question: How does the expanse of time correlate to authenticity with regard to original and subsequent versions of texts? 

answer: a larger time gap between an original and a manuscript means more changes in the text.
Title: Textual_criticism
Context: Scientific and critical editions can be protected by copyright as works of authorship if enough creativity/originality is provided. The mere addition of a word, or substitution of a term with another one believed to be more correct, usually does not achieve such level of originality/creativity. All the notes accounting for the analysis and why and how such changes have been made represent a different work autonomously copyrightable if the other requirements are satisfied. In the European Union critical and scientific editions may be protected also by the relevant neighboring right that protects critical and scientific publications of public domain works as made possible by art. 5 of the Copyright Term Directive. Not all EU member States have transposed art. 5 into national law.

question: What is the criteria for copyright? 

answer: if enough creativity/originality is provided

question: What minor things can be included and not invalidate a copyright? 

answer: The mere addition of a word, or substitution of a term with another one believed to be more correct

question: Are footnotes included in the copyright of the original work? 

answer: All the notes accounting for the analysis and why and how such changes have been made represent a different work autonomously copyrightable

question: What rights do scientific publications in the EU enjoy? 

answer: the relevant neighboring right that protects critical and scientific publications of public domain works
Title: Gramophone_record
Context: A gramophone record (phonograph record in American English) or vinyl record, commonly known as a "record", is an analogue sound storage medium in the form of a flat polyvinyl chloride (previously shellac) disc with an inscribed, modulated spiral groove. The groove usually starts near the periphery and ends near the center of the disc. Phonograph records are generally described by their diameter in inches (12", 10", 7"), the rotational speed in rpm at which they are played (16 2⁄3, 33 1⁄3, 45, 78), and their time capacity resulting from a combination of those parameters (LP – long playing 33 1⁄3 rpm, SP – 78 rpm single, EP – 12-inch single or extended play, 33 or 45 rpm); their reproductive quality or level of fidelity (high-fidelity, orthophonic, full-range, etc.), and the number of audio channels provided (mono, stereo, quad, etc.).

question: What does LP stand for when it comes to time capacity? 

answer: long playing

question: What are common diameters found in phonograph records? 

answer: 12", 10", 7"

question: What is a gramophone or 'vinyl' record? 

answer: analogue sound storage medium

question: Where does the groove on a vinyl record typically start? 

answer: near the periphery

question: In what method is the rotational speed measured in? 

answer: rpm
Title: Gramophone_record
Context: The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record–with which it had co-existed from the late 1880s through to the 1920s–by the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. From the 1990s to the 2010s, records continued to be manufactured and sold on a much smaller scale, and were especially used by disc jockeys (DJ)s, released by artists in some genres, and listened to by a niche market of audiophiles. The phonograph record has made a niche resurgence in the early 21st century – 9.2 million records were sold in the U.S. in 2014, a 260% increase since 2009. Likewise, in the UK sales have increased five-fold from 2009 to 2014.

question: What was the primary use of a phonographic disc record? 

answer: music reproduction

question: Which year did vinyl records leave the main steam media market? 

answer: 1991

question: From the 1990s to 2010s who was the primary consumer of vinyl records? 

answer: disc jockeys (DJ)s

question: Approximately how many phonograph records were sold in 2014? 

answer: 9.2 million

question: What is the niche market of phonograph record fans known as? 

answer: audiophiles
Title: Gramophone_record
Context: The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back. In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound.

question: What was the original intent of the phonautograph? 

answer: visual analysis

question: In what years where phonautograms converted to audible sound? 

answer: 2000s

question: What year were the earliest known recordings of sound? 

answer: 1857

question: By whom was the phonautograms patented? 

answer: Léon Scott

question: In what year was phonautograms patented? 

answer: 1857
Title: Gramophone_record
Context: In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he actually reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later. The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately. The Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey, Rosapelly and Barlow as well as Scott as creators of devices for recording but, importantly, not reproducing sound. Edison also invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade later, Edison developed a greatly improved phonograph that used a hollow wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century.

question: In what year did Thomas Edison invent the phonograph? 

answer: 1877

question: How did the phonograph differ from the phonautograph? 

answer: capable of both recording and reproducing sound

question: What was unique about Einsteins invention? 

answer: reproducing sound

question: At what era was the recorded sound market introduced? 

answer: 1880s
Title: Gramophone_record
Context: Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and Columbia's wax cylinder "graphophone". Berliner's earliest discs, first marketed in 1889, but only in Europe, were 5 inches (13 cm) in diameter, and were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved the sound quality. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company, whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory which became RCA Victor stills exists. There is a dedicated museum in Montreal for Berliner.

question: What is the name of lateral cut disc records? 

answer: gramophone

question: What was an issue found with Berliner's records initially?  

answer: poor sound quality

question: Where were lateral cut disc records developed? 

answer: United States

question: What is 'Victor Talking Machine now known as? 

answer: RCA Victor

question: Where is the museum dedicated to Berliner located? 

answer: Montreal
Title: Gramophone_record
Context: In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of 4½ minutes (at 160 rpm), which in turn were superseded by Blue Amberol Records, which had a playing surface made of celluloid, a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early format war, although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919 the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records would dominate the home entertainment market until they were outsold by the digital compact disc in the late 1980s (which was in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing).

question: What was the name of the discs Edison introduced in 1909? 

answer: Blue Amberol cylinders

question: What year did the patent for lateral cut discs expire? 

answer: 1919

question: What format dominated the market in the late 1980s? 

answer: digital compact disc

question: What disc format was the least fragile prior to 1919? 

answer: Amberol cylinder

question: What was the playing surface of the blue amerbol cylinder discs made of? 

answer: celluloid
Title: Gramophone_record
Context: Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a diaphragm, which vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer practically had to put his or her face in the recording horn. Lower-pitched orchestral instruments such as cellos and double basses were often doubled (or replaced) by louder wind instruments, such as tubas. Standard violins in orchestral ensembles were commonly replaced by Stroh violins, which became popular with recording studios.

question: What were two drawback of early recordings? 

answer: Sensitivity and frequency range were poor

question: How would one make to early recordings? 

answer: face in the recording horn

question: What types of violins worked best with early recordings? 

answer: Stroh violins

question: What instruments did not record well? 

answer: Lower-pitched orchestral instruments

question: How was the frequency response in early recordings? 

answer: very irregular
Title: Gramophone_record
Context: Contrary to popular belief, if placed properly and prepared-for, drums could be effectively used and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn. Lillian Hardin Armstrong, a member of King Oliver's Creole Jazz Band, which recorded at Gennett Records in 1923, remembered that at first Oliver and his young second trumpet, Louis Armstrong, stood next to each other and Oliver's horn could not be heard. "They put Louis about fifteen feet over in the corner, looking all sad." For fading instrumental parts in and out while recording, some performers were placed on a moveable platform, which could draw the performer(s) nearer or further away as required.[citation needed]

question: What tool was used to improve sound quality in early recordings for special effects? 

answer: moveable platform

question: Where were loud instruments best placed for good sound quality? 

answer: farthest away from the collecting horn

question: How far away has a trumpeter been known to stand? 

answer: fifteen feet

question: Were drums heard on early jazz recordings? 

answer: drums could be effectively used

question: What was the item called that recorded the sounds? 

answer: collecting horn
Title: Gramophone_record
Context: During the first half of the 1920s, engineers at Western Electric, as well as independent inventors such as Orlando Marsh, developed technology for capturing sound with a microphone, amplifying it with vacuum tubes, then using the amplified signal to drive an electromagnetic recording head. Western Electric's innovations resulted in a greatly expanded and more even frequency response, creating a dramatically fuller, clearer and more natural-sounding recording. Distant or less strong sounds that were impossible to record by the old methods could now be captured. Volume was now limited only by the groove spacing on the record and the limitations of the intended playback device. Victor and Columbia licensed the new electrical system from Western Electric and began issuing electrically recorded discs in 1925. The first classical recording was of Chopin impromptus and Schubert's Litanei by Alfred Cortot for Victor.

question: What was an early took used to amplify sounds? 

answer: vacuum tubes

question: What company was vital in progression of quality sound recordings? 

answer: Western Electric

question: How early were electrically recorded discs made available for purchase? 

answer: 1925

question: What was new about the way Western Electrics method of capturing sound? 

answer: microphone

question: How could the sounds produced by Western Electric be described? 

answer: fuller, clearer and more natural
Title: Gramophone_record
Context: Electrical recording preceded electrical home reproduction because of the initial high cost of the new system. In 1925, the Victor company introduced the Victor Orthophonic Victrola, an acoustical record player that was specifically designed to play electrically recorded discs, as part of a line that also included electrically reproducing Electrolas. The acoustical Orthophonics ranged in price from US$95 to US$300, depending on cabinetry; by comparison, the cheapest Electrola cost US$650, the price of a new Ford automobile in an era when clerical jobs paid about $20 a week.

question: What was a drawback of early home recording systems? 

answer: high cost

question: What was the initial cost range of early recording devices? 

answer: US$95 to US$300

question: What year  was the  Victor Orthophonic Victrola released? 

answer: 1925

question: What was the typical weekly pay of a worker in 1925? 

answer: $20

question: What options were available that effected the cost of the Victor Orthophonic Victorla? 

answer: cabinetry
Title: Gramophone_record
Context: The earliest disc records (1889–1894) were made of various materials including hard rubber. Around 1895, a shellac-based compound was introduced and became standard. Exact formulas for this compound varied by manufacturer and over the course of time, but it was typically composed of about one-third shellac and about two-thirds mineral filler, which meant finely pulverized rock, usually slate and limestone, with an admixture of cotton fibers to add tensile strength, carbon black for color (without this, it tended to be a "dirty" gray or brown color that most record companies considered unattractive), and a very small amount of a lubricant to facilitate mold release during manufacture. Some makers, notably Columbia Records, used a laminated construction with a core disc of coarser material or fiber. The production of shellac records continued until the end of the 78 rpm format (i.e., the late 1950s in most developed countries, but well into the 1960s in some other places), but increasingly less abrasive formulations were used during its declining years and very late examples in truly like-new condition can have as low noise levels as vinyl.

question: What materials were discs made of in 1889-1894? 

answer: hard rubber

question: What was the standard material for discs around 1895? 

answer: a shellac-based compound

question: What company was known for laminate construction of discs? 

answer: Columbia Records

question: What material give the vinyl records their known black color? 

answer: carbon

question: What material is used in order to release the vinyl records from their molds? 

answer: lubricant
Title: Gramophone_record
Context: Flexible or so-called "unbreakable" records made of unusual materials were introduced by a number of manufacturers at various times during the 78 rpm era. In the UK, Nicole records, made of celluloid or a similar substance coated onto a cardboard core disc, were produced for a few years beginning in 1904, but they suffered from an exceptionally high level of surface noise. In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings in 1907, but the advantages and longevity of their relatively noiseless surfaces depended on the scrupulous use of special gold-plated Marconi Needles and the product was not a success. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared around 1930 but also did not last long. The contemporary French Pathé Cellodiscs, made of a very thin black plastic, which uncannily resembles the vinyl "sound sheet" magazine inserts of the 1965–1985 era, were similarly short-lived. In the US, Hit of the Week records, made of a patented translucent plastic called Durium coated on a heavy brown paper base, were introduced in early 1930. A new issue came out every week and they were sold at newsstands like a weekly magazine. Although inexpensive and commercially successful at first, they soon fell victim to the Great Depression and production in the US ended in 1932. Related Durium records continued to be made somewhat later in the UK and elsewhere, and as remarkably late as 1950 in Italy, where the name "Durium" survived far into the LP era as a trademark on ordinary vinyl records. Despite all these attempts at innovation, shellac compounds continued to be used for the overwhelming majority of commercial 78 rpm records during the lifetime of the format.

question: What was a major downfall of the success of Durium records? 

answer: Great Depression

question: What year were Durium records no longer released in the US? 

answer: 1932

question: What are most 78 rpm records made of? 

answer: shellac compounds

question: What was a common problem found in early flexible records? 

answer: surface noise

question: What was the thin translucent plastic most successfully used to make discs called? 

answer: Durium
Title: Gramophone_record
Context: In 1931, RCA Victor introduced their vinyl-based Victrolac compound as a material for some unusual-format and special-purpose records. By the end of the 1930s vinyl's advantages of light weight, relative unbreakability and low surface noise had made it the material of choice for prerecorded radio programming and other critical applications. When it came to ordinary 78 rpm records, however, the much higher cost of the raw material, as well as its vulnerability to the heavy pickups and crudely mass-produced steel needles still commonly used in home record players, made its general substitution for shellac impractical at that time. During the Second World War, the United States Armed Forces produced thousands of 12-inch vinyl 78 rpm V-Discs for use by the troops overseas. After the war, the wider use of vinyl became more practical as new record players with relatively lightweight crystal pickups and precision-ground styli made of sapphire or an exotic osmium alloy proliferated. In late 1945, RCA Victor began offering special transparent red vinyl De Luxe pressings of some classical 78s, at a de luxe price. Later, Decca Records introduced vinyl Deccalite 78s, while other record companies came up with vinyl concoctions such as Metrolite, Merco Plastic and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.

question: What material was used by RCA Victor for special purpose records? 

answer: vinyl-based Victrolac compound

question: What was Metrolite and Sav-o-flex materials primarily used for? 

answer: children's records

question: What year was the Victrolac compound released? 

answer: 1931

question: What were advantages of vinyl in the 1930's? 

answer: light weight, relative unbreakability and low surface noise

question: What was a downfall of ordinary 78 rpm vinyls in household house? 

answer: higher cost