Input: Read this: The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Leonardi mentioned this decline in his 1921 book, Methode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.
Question: Who were two of the prominent players in the 15th century?

Output: unanswerable

Input: Read this: Since the canons of criticism are highly susceptible to interpretation, and at times even contradict each other, they may be employed to justify a result that fits the textual critic's aesthetic or theological agenda. Starting in the 19th century, scholars sought more rigorous methods to guide editorial judgment. Best-text editing (a complete rejection of eclecticism) became one extreme. Stemmatics and copy-text editing while both eclectic, in that they permit the editor to select readings from multiple sources sought to reduce subjectivity by establishing one or a few witnesses presumably as being favored by "objective" criteria.[citation needed] The citing of sources used, and alternate readings, and the use of original text and images helps readers and other critics determine to an extent the depth of research of the critic, and to independently verify their work.
Question: What is a further benefit of including sources, texts and original images in a critique?

Output: the depth of research of the critic

Input: Read this: Victoria turned 18 on 24 May 1837, and a regency was avoided. On 20 June 1837, William IV died at the age of 71, and Victoria became Queen of the United Kingdom. In her diary she wrote, "I was awoke at 6 o'clock by Mamma, who told me the Archbishop of Canterbury and Lord Conyngham were here and wished to see me. I got out of bed and went into my sitting-room (only in my dressing gown) and alone, and saw them. Lord Conyngham then acquainted me that my poor Uncle, the King, was no more, and had expired at 12 minutes past 2 this morning, and consequently that I am Queen." Official documents prepared on the first day of her reign described her as Alexandrina Victoria, but the first name was withdrawn at her own wish and not used again.
Question: Who informed Victoria of her Uncle's passing and that she was now to become Queen of England?

Output: the Archbishop of Canterbury and Lord Conyngham

Input: Read this: Translation of a text that is sung in vocal music for the purpose of singing in another languagesometimes called "singing translation"is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth.
Question: What is most vocal music set to in Western tradition?

Output:
verse