romikgosai/squad_modified_2 huggingface dataset:
The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle.

Q1: Increased attention to extended melodic lines characterized what era?
A1: Romantic
Q2: When did the Romantic era end?
A2: the early 20th century
Q3: Free-form pieces like nocturnes and preludes were a break from what era?
A3: Classical
Q4: Tensions about what increased during the Romantic era?
A4: key signatures
Q5: What is a name for an art song?
A5: Lied
In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.

Q1: Who controlled musical institutions before the 19th century?
A1: wealthy patrons
Q2: Composers and musicians began to construct lives independent of what in the 19th century?
A2: the nobility
Q3: What class increased it's interest in music during the 19th century?
A3: middle classes
Q4: What instrument became widely popular in the middle class in the 19th century?
A4: The piano
Q5: The 19th century marks the foundation of many what?
A5: symphony orchestras
The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400.

Q1: To what number did the size of the orchestra grow to?
A1: 100
Q2: What size of choirs have performed Gustav Mahler's 1906 Symphony No. 8?
A2: over 400
Q3: What size orchestras have performed Gustav Mahler's 1906 Symphony No. 8?
A3: over 150
Q4: What allowed Brass instruments to play a wider range of notes?
A4: rotary valves
Q5: What array of instrument grew wider?
A5: percussion
European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.

Q1: What did European cultural ideas follow?
A1: colonial expansion
Q2: What type of music rose toward the end of the era?
A2: nationalism
Q3: What did nationalism in music sometime echo?
A3: political sentiments of the time
Q4: Edvard Grieg and Antonin Dvorak used what kind of music in their compositions?
A4: traditional music of their homelands
Encompassing a wide variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century.

Q1: What style does 20th century classical music encompass?
A1: post-Romantic
Q2: When did modernism take place?
A2: 1890–1930
Q3: Composers rejected the traditions of the common practice period during what era?
A3: Modernism
Q4: Neo-classical music emerged during what era?
A4: high-modern era
Q5: Postmodern music is also know as what?
A5: contemporary music
Almost all of the composers who are described in music textbooks on classical music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann  [sic] is one of the only  [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."

Q1: What gender are most composers described in music textbooks?
A1: male
Q2: Who asked why is music composed by women so marginal to the standard 'classical' repertoire?
A2: Musicologist Marcia Citron
Q3: Why were women composers deemed not notable?
A3: did not write many symphonies
Q4: Who is one of the only female composers mentioned?
A4: Clara Shumann
Q5: What type of music did women composers typically write?
A5: art songs
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.

Q1: What type of view is that classical music is primarily written musical tradition?
A1: modernist
Q2: Musical notation is effective for what?
A2: transmitting classical music
Q3: Why is written musical notation effective?
A3: 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.

Q1: Did student who actively listen to classical music before studying have higher or lower scores?
A1: higher
Q2: What happened to the scores of students who listened to rock and roll or country?
A2: moderately lower
Q3: Who experience a significant leap in their academic performance?
A3: students who used classical during the course of study
Q4: Who conducted the research study?
A4: University of Colorado
Q5: What years was the study conducted in?
A5: 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."

Q1: Which composer had an effect named after him?
A1: Mozart
Q2: Who wrote a book on the Mozart effect?
A2: Don Campbell
Q3: Where was the experiment originally published?
A3: Nature
Q4: How many IQ points of a students' does the Mozart effect temporarily boost?
A4: 8 to 9 points
Q5: How much did the Governor of Georgia budget per year to provide every child with a CD of classical music?
A5: $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.

Q1: What harmed the music industry in the 20th century according to Shawn Vancour?
A1: the commercialization of classical music
Q2: Who argued that the commercialization of classical music was harmful to the music industry?
A2: Shawn Vancour
Q3: Why was the commercialization of classical music harmful to the music industry according the Shawn Vancour?
A3: 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?.

Q1: Works from the Golden Age of music matches action to what?
A1: classical music
Q2: Who produced Fantasia?
A2: Walt Disney
Q3: Who starred in Johann Mouse?
A3: Tom and Jerry
Q4: Who produced Rabbit of Seville?
A4: Warner Bros
Q5: Who produced What's Opera, Doc?
A5: 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.

Q1: What does classical music convey in movies and television?
A1: refinement or opulence
Q2: What piece by Vivaldi is used as a cliche to convey opulence?
A2: Four Seasons
Q3: What piece by Mozart is used as a cliche to convey refinement?
A3: Eine kleine Nachtmusik
Q4: Who wrote William Tell Overture?
A4: Rossini
Q5: Who wrote Night on Bald Mountain?
A5: 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.

Q1: What does the written score not usually contain explicitly?
A1: instructions
Q2: Interpretations of written score is left to whom?
A2: performers
Q3: Performers can use their knowledge of what to help interpret a written score?
A3: 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).

Q1: Improvisation is integral before what took a high significance?
A1: the score
Q2: When did oral tradition disappear?
A2: the 20th century
Q3: There is still controversy about how to perform works, even though scores provide what?
A3: key elements of the music
Q4: A score-centric approach strictly emphasizes what?
A4: 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.

Q1: What once played an important role in classical music?
A1: Improvisation
Q2: Where can a remnant of improvisation tradition be found?
A2: cadenza
Q3: What can solo performers exhibit during a cadenza?
A3: their virtuoso skills on the instrument
Q4: What type of performances of Baroque ear Operas require improvisation?
A4: authentic performances
Q5: An example of improvisation in an opera is Beverly Sills variation of what movement of Handel's Giulio Cesare?
A5: 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.

Q1: How are staples of classical music often used?
A1: commercially
Q2: TV commercials using Richard Strauss' Also sprach Zarathustra have now become what?
A2: clichéd
Q3: What piece is often used in the horror genre?
A3: "O Fortuna" of Carl Orff's Carmina Burana
Q4: Who wrote Ride of the Valkyries?
A4: Wagner
Q5: Who wrote in the Hall of the Mountain King?
A5: 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.

Q1: Folk musicians are not commonly what?
A1: classically trained
Q2: What music comes from those commonly trained by oral tradition?
A2: folk music
Q3: Dovrak has used what type of themes to impart a nationalist flavor?
A3: folk
Q4: Who used specific themes lifted from folk-music?
A4: 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.

Q1: How are performers expected to play a work due to written transmission?
A1: in a way that realizes in detail the original intentions of the composer
Q2: When did details that composers put in their scores increase?
A2: the 19th century
Q3: Admiration of performers for new interpretations can be seen when composers feel the performer achieve what?
A3: a better realization of the original intent than the composer
Q4: What do classical performers often achieve?
A4: 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.

Q1: When was improvisation in classical music performance common?
A1: the Baroque and early romantic eras
Q2: When did improvisation begin to lessened strongly?
A2: the second half of the 19th and in the 20th centuries
Q3: What part did Mozart and Beethoven often improvise?
A3: the cadenzas to their piano concertos
Q4: What is the name for the practice of singing strictly by the score in opera?
A4: come scritto
Q5: Who strongly supposed ome scritto?
A5: 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.

Q1: Popular music from the composer's time was incorporation into what?
A1: Classical music
Q2: What did Brahms sometimes use in his Academic Festival Overture?
A2: student drinking songs
Q3: What type of music was Maurice Ravel influenced by?
A3: jazz
Q4: Who wrote The Threepenny Opera?
A4: Kurt Weill
Q5: What type of music do certain composers acknowledge a debt to?
A5: 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.

Q1: Pachelbel's Canon has influenced popular songs since what decade?
A1: the 1970s
Q2: What phenomenon sees classical musicians achieving success in popular music?
A2: the musical crossover phenomenon
Q3: Baroque or Classical era influence can be seen in what modern musical style?
A3: heavy metal
Q4: Ritchie Blackmore and Randy Rhoads play what instrument?
A4: 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.

Q1: What is the largest Indo-European ethno-linguistic group in Europe?
A1: Slavs are the largest Indo-European ethno-linguistic group in Europe.
Q2: What areas of the world do Slavs inhabit?
A2: They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia.
Q3: What was colonised by the East Slavs?
A3: The East Slavs colonised Siberia and Central Asia.
Q4: What portion of Europe's territory is inhabited by Slavic-speaking communities?
A4: Presently over half of Europe's territory is inhabited by Slavic-speaking communities
Q5: Slavic mercenaries settled where?
A5: Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria.