romikgosai/squad_modified_2 huggingface dataset:
There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course.

Q1: What are the four common styles of mandolins?
A1: the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin.
Q2: What is the round-back mandolin made of?
A2: strips of wood, glued together into a bowl
Q3: Which style of mandolin has a shallower, arched back, and arched top?
A3: round-back
Q4: Which form of music do Neapolitan mandolins feature?
A4: European classical music and traditional music.
Q5: Which mandolin is commin in American Folk music and blue grass music?
A5: Carved-top instruments
Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling.

Q1: What did most of the development of the mandolin revolve around?
A1: soundboard (the top)
Q2: Were premandolins quiet or loud instruments?
A2: quiet instruments
Q3: What are modern mandolins' strings made of?
A3: four courses of metal strings,
Q4: What is the most common soundboard shape?
A4: generally round or teardrop-shaped
Q5: What are the sound holes covered with?
A5: bordered with decorative rosettes or purfling
Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.

Q1: Who introduced the lute to Spain?
A1: the Moors
Q2: What country helped transfer the lute from Arabian to European culture?
A2: Sicily
Q3: Who brought the lute to Sicily?
A3: Byzantine or later by Muslim musicians
Q4: What court held singer-lutenists after the Norman conquest?
A4: Palermo
Q5: What building has ceeiling painting dedicated to the lutenists?
A5: Palermo’s royal Cappella Palatina,
There is confusion currently as to the name of the eldest Vinaccia luthier who first ran the shop. His name has been put forth as Gennaro Vinaccia (active c. 1710 to c. 1788) and Nic. Vinaccia. His son Antonio Vinaccia was active c. 1734 to c. 1796. An early extant example of a mandolin is one built by Antonio Vinaccia in 1759, which resides at the University of Edinburgh. Another is by Giuseppe Vinaccia, built in 1893, is also at the University of Edinburgh. The earliest extant mandolin was built in 1744 by Antonio's son, Gaetano Vinaccia. It resides in the Conservatoire Royal de Musique in Brussels, Belgium.

Q1: What is there currently confusion over?
A1: eldest Vinaccia luthier who first ran the shop
Q2: Who is said to have ran the first shop?
A2: Gennaro Vinaccia (active c. 1710 to c. 1788) and Nic
Q3: Where does the mandolin built by Antonio Vinaccia reside?
A3: University of Edinburgh
Q4: Where does the mandolin built by Giuseppe Vinaccia reside?
A4: University of Edinburgh
Q5: Where does the mandolin that Gaetano Vinaccia reside?
A5: Conservatoire Royal de Musique in Brussels, Belgium.
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 Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times.

Q1: What year was the beginning of the transition from mandolino to mandolin?
A1: 1744
Q2: Where did the mandolin grow in popularity?
A2: in the streets where it was used by young men courting and by street musicians, and in the concert hall
Q3: When did the mandolin's popularity begin to fall?
A3: After the Napoleonic Wars of 1815, however, its popularity began to fall
Q4: Who were two of the promiment players in the 19th century?
A4: Bartolomeo Bortolazzi of Venice and Pietro Vimercati
Q5: What year did the export market for manodlins from Italy dry up?
A5: 1815
Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers.

Q1: When did the mandolin's poplarity rebound?
A1: Beginning with the Paris Exposition of 1878
Q2: What popular group performed at the Paris Exposition?
A2: Estudiantes Españoles (Spanish Students)
Q3: When was it said that mandolin's popularity peaked?
A3: early years of the 20th century.
Q4: What instrument was the mandolin confused with during the 1880's?
A4: bandurria
Q5: What were formed worldwide that incorporated the mandolin famiy of instruments and other instruments as well?
A5: Mandolin orchestras
The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.

Q1: When was the second decline of mandolin popularity?
A1: early 20th century,
Q2: Why was the second decline in popularity not a strong as the first?
A2: Thousands of people had learned to play the instrument
Q3: Who created the rasonator mandolin?
A3: Luthiers
Q4: What are two types of new mandolins the Luthiers created?
A4: mandolin-banjo and the electric mandolin
Q5: What types of music did musicians begin to play the mandolins in?
A5: Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too.
Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would.

Q1: What happens to mandolin notes when plucked?
A1: decay to silence
Q2: Do mandolin notes decay faster or slower than larger string instruments?
A2: faster
Q3: What is tremolo?
A3: rapid picking of one or more pairs of strings
Q4: What parts of the mandolin faciliate the tremolo technique?
A4: paired strings
Q5: What is a plectrum?
A5: pick
The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins.

Q1: What kind of style does the Neapolitan mandolin have?
A1: almond-shaped body resembling a bowl, constructed from curved strips of wood
Q2: How many strings does the Neapolitan mandolin have?
A2: 8
Q3: What are the Neapolitan mandolin made of?
A3: metal strings
Q4: What sits on top or is flush with the sound table of the Mandolin?
A4: hardwood fingerboard
Q5: How long is the scale commonly used on European roundbacks?
A5: 13-inch scale
Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.

Q1: Where did the Lombardic family of bowlback mandolins come from?
A1: Milan and Lombardy
Q2: What do the Lombardic mandolins resemble more than modern mandolins?
A2: mandolino or mandore
Q3: What differences do the Lombardic mandolins have from the Neapolitan mandolin?
A3: They are shorter and wider
Q4: How many strings do the Lombardic mandolins have?
A4: 6 strings
Q5: Who was the developer of the Milanese mandolin?
A5: Antonio Monzino
Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan."

Q1: Who described the Lombardi mandolin as wider and shorter than the Neoapolitan mandolin?
A1: Samuel Adelstein
Q2: How many strings do the regular mandolin's have?
A2: 4
Q3: What was the Lombardi Mandolin tuned to?
A3: C, D, A, E, B, G.
Q4: How many frets did the Lombardi have?
A4: 20 frets
Q5: How many octaves did the Lombardi cover?
A5: three octaves
In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.

Q1: Who popularised the Cremonese Mandolin?
A1: Bartolomeo Bortolazzi
Q2: What was Bartolomeo Bortolazzi's popular mandolin method?
A2: Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi
Q3: How many strings did the Cremonese Mandolin have?
A3: four single-strings
Q4: Did Bortolazzi like playing the new wire strung mandolins?
A4: uncomfortable to play
Q5: What did Bortolazzi say about the sound?
A5: less pleasing...hard, zither-like tone
At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. This new style is credited to mandolins designed and built by Orville Gibson, a Kalamazoo, Michigan luthier who founded the "Gibson Mandolin-Guitar Manufacturing Co., Limited" in 1902. Gibson mandolins evolved into two basic styles: the Florentine or F-style, which has a decorative scroll near the neck, two points on the lower body and usually a scroll carved into the headstock; and the A-style, which is pear shaped, has no points and usually has a simpler headstock.

Q1: When was a new sytle of carved top and back construction mandolins created?
A1: end of the 19th century
Q2: What was the new sytle of mandolins inspired from?
A2: violin family instruments
Q3: What sytle did the new style of mandolins supplant?
A3: European-style bowl-back
Q4: Who founded the Gibson Mandolin-Guitar Manufacturing Co, Limited?
A4: Orville Gibson
These styles generally have either two f-shaped soundholes like a violin (F-5 and A-5), or an oval sound hole (F-4 and A-4 and lower models) directly under the strings. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument.

Q1: What shape sounds holes do these styles of mandolins have?
A1: two f-shaped soundholes like a violin (F-5 and A-5), or an oval sound hole (F-4 and A-4 and lower models)
Q2: Where are the soundholes located?
A2: directly under the strings
Q3: What mandolin is associate with Bluegrass music?
A3: Gibson F-hole F-5 mandolins
Q4: What style is associate with other types of music?
A4: A-style
Q5: Why is the F-5 mandolin more expensive?
A5: complicated woodwork
Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China).

Q1: What style of Gisbon Mandolin was largely replicated?
A1: Gibson F-5
Q2: When was the Gibson F-5 largely replicated?
A2: early 1920s
Q3: Who supervised the Gibson F-5's replication?
A3: Gibson acoustician Lloyd Loar
Q4: Who are the other makers from the Loar period?
A4: Lyon and Healy, Vega and Larson Brothers
Q5: Who were notable modern American mandolin manufacturers?
A5: Kay, Gibson, Weber, Monteleone and Collings.
The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of violin music, since the mandolin has the same tuning of the violin. Following its invention and early development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with Mandolin orchestras, so called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent.

Q1: What instrument does the mandolin share the same tuning of?
A1: violin
Q2: Where was the mandolin primarily used?
A2: classical tradition with Mandolin orchestras
Q3: When was the mandolin considered a fad?
A3: early 20th century
Q4: Who contributed to the idea that the mandolin was a fad?
A4: Giuseppe Pettine, Raffaele Calace and Silvio Ranieri
Q5: When did the mandolin craze end?
A5: 1930s
Phil Skinner played a key role in 20th century development of the mandolin movement in Australia, and was awarded an MBE in 1979 for services to music and the community. He was born Harry Skinner in Sydney in 1903 and started learning music at age 10 when his uncle tutored him on the banjo. Skinner began teaching part-time at age 18, until the Great Depression forced him to begin teaching full-time and learn a broader range of instruments. Skinner founded the Sydney Mandolin Orchestra, the oldest surviving mandolin orchestra in Australia.

Q1: Who played a key role Australian mandolin movement?
A1: Phil Skinner
Q2: When did the Australian mandolin movement begin?
A2: 20th century
Q3: When was Phil Skinner awarded an MBE?
A3: 1979
Q4: What was Phil Skinner's birth name?
A4: Harry Skinner
Q5: At what age did Phil Skinner begin playing music?
A5: 10
The Sydney Mandolins (Artistic Director: Adrian Hooper) have contributed greatly to the repertoire through commissioning over 200 works by Australian and International composers. Most of these works have been released on Compact Disks and can regularly be heard on radio stations on the ABC and MBS networks. One of their members, mandolin virtuoso Paul Hooper, has had a number of Concertos written for him by composers such as Eric Gross. He has performed and recorded these works with the Sydney Symphony Orchestra and the Tasmanian Symphony Orchestra. As well, Paul Hooper has had many solo works dedicated to him by Australian composers e.g., Caroline Szeto, Ian Shanahan, Larry Sitsky and Michael Smetanin.

Q1: Who is the director of the Sydney Mandolins?
A1: Adrian Hooper
Q2: How many commisions of Sydney Mandolins have their been?
A2: over 200 works
Q3: On what media was most of these work released?
A3: Compact Disks
Q4: What radio stations can they be heard on?
A4: ABC and MBS networks
Q5: Who has had many Concertos written for him?
A5: mandolin virtuoso Paul Hooper
In the early 20th century several mandolin orchestras (Estudiantinas) were active in Belgium. Today only a few groups remain: Royal Estudiantina la Napolitaine (founded in 1904) in Antwerp, Brasschaats mandoline orkest in Brasschaat and an orchestra in Mons (Bergen). Gerda Abts is a well known mandolin virtuoso in Belgium. She is also mandolin teacher and gives lessons in the music academies of Lier, Wijnegem and Brasschaat. She is now also professor mandolin at the music high school “Koninklijk Conservatorium Artesis Hogeschool Antwerpen”. She also gives various concerts each year in different ensembles. She is in close contact to the Brasschaat mandolin Orchestra. Her site is www.gevoeligesnaar.be

Q1: What is an Etsudiantinas?
A1: mandolin orchestras
Q2: Where were the Estudiantinas active in during the early 20th century?
A2: Belgium
Q3: What groups remain today?
A3: Royal Estudiantina la Napolitaine (founded in 1904) in Antwerp, Brasschaats mandoline orkest in Brasschaat and an orchestra in Mons (Bergen).
Q4: Where is Gerda Abts well know in?
A4: Belgium
Q5: Where is Gerda Abst a professor mandolin?
A5: Koninklijk Conservatorium Artesis Hogeschool Antwerpen
Prior to the Golden Age of Mandolins, France had a history with the mandolin, with mandolinists playing in Paris until the Napoleonic Wars. The players, teachers and composers included Giovanni Fouchetti, Eduardo Mezzacapo, Gabriele Leon, and Gervasio. During the Golden age itself (1880s-1920s), the mandolin had a strong presence in France. Prominent mandolin players or composers included Jules Cottin and his sister Madeleine Cottin, Jean Pietrapertosa, and Edgar Bara. Paris had dozens of "estudiantina" mandolin orchestras in the early 1900s. Mandolin magazines included L'Estudiantina, Le Plectre, École de la mandolie.

Q1: Prior to what age did France have a history with the mandolin?
A1: Golden Age of Mandolins
Q2: Where in France did the mandolinists play?
A2: Paris
Q3: When did the mandolinists stop playing in Paris?
A3: Napoleonic Wars.
Q4: Who were the players and composers during this time?
A4: Giovanni Fouchetti, Eduardo Mezzacapo, Gabriele Leon, and Gervasio
Q5: What years was considered the Golden Age of Mandolins?
A5: 1880s-1920s