romikgosai/squad_modified huggingface dataset:
The modernist views hold that classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work.

Questions and answers:
['
Q: What type of view is that classical music is primarily written musical tradition?
A: modernist', '
Q: Musical notation is effective for what?
A: transmitting classical music', '
Q: Why is written musical notation effective? 
A: contains the technical instructions for performing the work']
In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work.

Questions and answers:
['
Q: Did student who actively listen to classical music before studying have higher or lower scores?
A: higher', '
Q: What happened to the scores of students who listened to rock and roll or country?
A: moderately lower', '
Q: Who experience a significant leap in their academic performance?
A: students who used classical during the course of study', '
Q: Who conducted the research study?
A: University of Colorado', '
Q: What years was the study conducted in?
A: 1996–1997']
During the 1990s, several research papers and popular books wrote on what came to be called the "Mozart effect": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: "researchers... have determined that listening to Mozart actually makes you smarter." Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs."

Questions and answers:
['
Q: Which composer had an effect named after him?
A: Mozart', '
Q: Who wrote a book on the Mozart effect?
A: Don Campbell', '
Q: Where was the experiment originally published?
A: Nature', "
Q: How many IQ points of a students' does the Mozart effect temporarily boost?
A: 8 to 9 points", '
Q: How much did the Governor of Georgia budget per year to provide every child with a CD of classical music?
A: $105,000']
Shawn Vancour argues that the commercialization of classical music in the early 20th century served to harm the music industry through inadequate representation.

Questions and answers:
['
Q: What harmed the music industry in the 20th century according to Shawn Vancour?
A: the commercialization of classical music', '
Q: Who argued that the commercialization of classical music was harmful to the music industry?
A: Shawn Vancour', '
Q: Why was the commercialization of classical music harmful to the music industry according the Shawn Vancour? 
A: inadequate representation.']
Several works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?.

Questions and answers:
['
Q: Works from the Golden Age of music matches action to what?
A: classical music', '
Q: Who produced Fantasia?
A: Walt Disney', '
Q: Who starred in Johann Mouse?
A: Tom and Jerry', '
Q: Who produced Rabbit of Seville?
A: Warner Bros', "
Q: Who produced What's Opera, Doc?
A: Warner Bros"]
Similarly, movies and television often revert to standard, clichéd snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach´s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture.

Questions and answers:
['
Q: What does classical music convey in movies and television?
A: refinement or opulence', '
Q: What piece by Vivaldi is used as a cliche to convey opulence?
A: Four Seasons', '
Q: What piece by Mozart is used as a cliche to convey refinement?
A: Eine kleine Nachtmusik', '
Q: Who wrote William Tell Overture?
A: Rossini', '
Q: Who wrote Night on Bald Mountain?
A: Mussorgsky']
The written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices.

Questions and answers:
['
Q: What does the written score not usually contain explicitly? 
A: instructions', '
Q: Interpretations of written score is left to whom?
A: performers', "
Q: Performers can use their knowledge of what to help interpret a written score?
A: the work's idiom"]
Some critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score).

Questions and answers:
['
Q: Improvisation is integral before what took a high significance?
A: the score', '
Q: When did oral tradition disappear?
A: the 20th century', '
Q: There is still controversy about how to perform works, even though scores provide what?
A: key elements of the music', '
Q: A score-centric approach strictly emphasizes what?
A: block-rhythms']
Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

Questions and answers:
['
Q: What once played an important role in classical music?
A: Improvisation', '
Q: Where can a remnant of improvisation tradition be found?
A: cadenza', '
Q: What can solo performers exhibit during a cadenza?
A: their virtuoso skills on the instrument', '
Q: What type of performances of Baroque ear Operas require improvisation?
A: authentic performances', "
Q: An example of improvisation in an opera is Beverly Sills variation of what movement of Handel's Giulio Cesare?
A: Da tempeste il legno infranto"]
Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

Questions and answers:
['
Q: How are staples of classical music often used?
A: commercially', "
Q: TV commercials using Richard Strauss' Also sprach Zarathustra have now become what?
A: clichéd", '
Q: What piece is often used in the horror genre?
A: "O Fortuna" of Carl Orff\'s Carmina Burana', '
Q: Who wrote Ride of the Valkyries?
A: Wagner', '
Q: Who wrote in the Hall of the Mountain King?
A: Edvard Grieg']
Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Questions and answers:
['
Q: Folk musicians are not commonly what?
A: classically trained', '
Q: What music comes from those commonly trained by oral tradition?
A: folk music', '
Q: Dovrak has used what type of themes to impart a nationalist flavor?
A: folk', '
Q: Who used specific themes lifted from folk-music?
A: Bartók']
Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Questions and answers:
['
Q: How are performers expected to play a work due to written transmission?
A: in a way that realizes in detail the original intentions of the composer', '
Q: When did details that composers put in their scores increase?
A: the 19th century', '
Q: Admiration of performers for new interpretations can be seen when composers feel the performer achieve what?
A: a better realization of the original intent than the composer', '
Q: What do classical performers often achieve?
A: high reputations for their musicianship']
The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Questions and answers:
['
Q: When was improvisation in classical music performance common?
A: the Baroque and early romantic eras', '
Q: When did improvisation begin to lessened strongly?
A: the second half of the 19th and in the 20th centuries', '
Q: What part did Mozart and Beethoven often improvise?
A: the cadenzas to their piano concertos', '
Q: What is the name for the practice of singing strictly by the score in opera?
A: come scritto', '
Q: Who strongly supposed ome scritto?
A: soprano Maria Callas']
Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Questions and answers:
["
Q: Popular music from the composer's time was incorporation into what?
A: Classical music", '
Q: What did Brahms sometimes use in his Academic Festival Overture?
A: student drinking songs', '
Q: What type of music was Maurice Ravel influenced by?
A: jazz', '
Q: Who wrote The Threepenny Opera?
A: Kurt Weill', '
Q: What type of music do certain composers acknowledge a debt to?
A: popular']
Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Questions and answers:
["
Q: Pachelbel's Canon has influenced popular songs since what decade?
A: the 1970s", '
Q: What phenomenon sees classical musicians achieving success in popular music?
A: the musical crossover phenomenon', '
Q: Baroque or Classical era influence can be seen in what modern musical style?
A: heavy metal', '
Q: Ritchie Blackmore and Randy Rhoads play what instrument?
A: electric guitar']
Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.

Questions and answers:
['
Q: What is the largest Indo-European ethno-linguistic group in Europe?
A: Slavs are the largest Indo-European ethno-linguistic group in Europe.', '
Q: What areas of the world do Slavs inhabit?
A: They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia.', '
Q: What was colonised by the East Slavs?
A: The East Slavs colonised Siberia and Central Asia.', "
Q: What portion of Europe's territory is inhabited by Slavic-speaking communities?
A: Presently over half of Europe's territory is inhabited by Slavic-speaking communities", '
Q: Slavic mercenaries settled where?
A: Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria.']
Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Questions and answers:
['
Q: West Slavic people consist of which nationalities?
A: Poles, Czechs and Slovaks', '
Q: East Slavic people consist of which nationalities?
A: Russians, Belarusians, and Ukrainians', '
Q: South Slavic people consist of which nationalities?
A: Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins', '
Q: West and East Slavs are sometimes combined into a single group called what?
A: North Slavs']
The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.

Questions and answers:
['
Q: *Slověninъ, plural *Slověne, is the Slavic autonym reconstructed in what?
A: Proto-Slavic', '
Q: Old 9th century documents describing Slavs were written in what language?
A: Old Church Slavonic', '
Q: Who wrote about the Slavs in Byzantine Greek in the 6th century?
A: Procopius', "
Q: Procopius' contemporary Jordanes referred to the Slavs in what language?
A: Latin"]
The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").

Questions and answers:
['
Q: What slavic word denotes "people who speak the same language?"
A: slovo', '
Q: What slavic word denotes "foreign people?"
A: němci', '
Q: Who considered *Slověninъ do be a derivation from slovo?
A: Roman Jakobson']
The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.

Questions and answers:
['
Q: Slovo, slava, and slukh all originate from what Proto-Indo-European root?
A: *ḱlew', '
Q: The Ancient Greek κλῆς (klês - "famous") helped create what famous name?
A: Pericles', '
Q: What three words originated from the Proto-Indo-European root *ḱlew- ("be spoken of, fame")?
A: he word slovo ("word") and the related slava ("fame") and slukh ("hearing")']
The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

Questions and answers:
['
Q: The word Slav could be derived from what Middle English word?
A: sclave', '
Q: The origin of what Byzantine term is disputed?
A: Sklavinoi', '
Q: The Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from what?
A: misunderstanding of the Slavic autonym', '
Q: The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba by who?
A: medieval Arab historiographers']
Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Questions and answers:
['
Q: Who argues that the word *slava once had the meaning of worshipper?
A: Lozinski', '
Q: Who speculates that *slava derives from a reconstructed Proto-Indo-European *(s)lawos?
A: S.B. Bernstein', '
Q: The suffix -enin indicates what?
A: a man from a certain place', '
Q: Who argued that the Old East Slavic Slavuta for the Dnieper River was derived from slova?
A: Henrich Bartek']
The earliest mentions of Slavic raids across the lower River Danube may be dated to the first half of the 6th century, yet no archaeological evidence of a Slavic settlement in the Balkans could be securely dated before c. 600 AD.

Questions and answers:
['
Q: The earliest mentions of Slavic raids are across what river?
A: River Danube', '
Q: The earliest mentions of what may be dated to the first half of the 6th century?
A: Slavic raids', '
Q: No archaeological evidence of a Slavic settlement in the Balkans could be securely dated before when?
A: c. 600 AD', '
Q: There is no evidence of a Slavic settlement where before c. 600 AD?
A: the Balkans']