sentence-transformers/squad huggingface dataset:
Passage: J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."

Question: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?

Question: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?

Question: What form does Temperley feel that Chopin's ballades and scherzos are based on?
Passage: Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.

Question: Chopin's mazurkas contain more of what than his other compositions?

Question: What form are Chopin's mazurkas and waltzes in?

Question: Which of Chopin's works shows more folk aspects?

Question: What type of bass do Chopin's mazurkas exhibit?

Question: What does Chopin's Op. 63 No. 3 have that is rare?
Passage: Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.

Question: What time are Chopin's polonaises written in?

Question: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who?

Question: Chopin's polonaise often have what kind of rhythm in their melodies?

Question: Chopin's polonaises needed what kind of playing technique?
Passage: The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.

Question: How many nocturnes did Chopin compose?

Question: What is it about the middle of Chopin's nocturnes that increases their drama?

Question: Chopin's nocturnes were more structured than who?

Question: What year did Chopin meet Field?

Question: Which type of Chopin's compositons were difficult for perfomers due to their middle sections?
Passage: Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves (Op. 25, No. 10), and playing repeated notes (Op. 10, No. 7).

Question: What pieces of his did Chopin use to teach his technique?

Question: What form are most of Chopin's études in?

Question: Chopin often taught his piano technique using what form of music he wrote?
Passage: The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.

Question: What piece of Bach's did Chopin take inspiration for his preludes?

Question: Who suggested that Chopin's preludes were not intended to be played as a group?

Question: What was described as "the beginning of studies" by Schumann?

Question: What inspired Chopin for his preludes?

Question: Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what?

Question: Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?
Passage: The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.

Question: How many movements are No. 2, Op. 35 and No. 3, Op 58 in?

Question: What two people claimed that Op 58 was "worthy of Brahms"?

Question: How many movements are in No. 2, Op. 35 and No. 3, Op 58?

Question: Which movement was found lacking in musicality by Schumann?

Question: According to music historians, which sonata is similar to German tradition and worthy of Brahms?
Passage: Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.

Question: Chopin's chord progressions are similar in style to what other composer?

Question: What likely arose due to Chopin's technique with keyboards?

Question: Who wrote about Chopin's "novel harmonic effects"?
Passage: In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands.

Question: What was Chopin's style based upon?

Question: Who wrote about a Chopin 1841 recital?

Question: What writing of Chopin talks about everything about piano playing has to do with proper fingering?
Passage: Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Question: According to J. Barrie Jones who was the only true successor to Chopin?

Question: Many people were considered influenced by Chopin's what?

Question: Who was Alexander Scriabin's teacher?

Question: Who was Chopin's worthy successor according to Jones?

Question: Who was devoted to the music of Chopin?

Question: Who was Alexander Scriabin's teacher?
Passage: Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Question: Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances?

Question: What did Chopin tend to avoid?

Question: What has been falsely credited to Chopin?

Question: What did Chopin tell a student is given up in concerts?

Question: Who wrote about Chopin's "chromatic embroidery"?

Question: Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?
Passage: Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

Question: Chopin's compositions are often played with what?

Question: What does rubato mean?

Question: In Chopin's music where strict timing is disregarded, what is it called?

Question: What type of Chopin's music had the most disregard for strict timing according to Charles Rosen?
Passage: Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

Question: According to who did Chopin demand strictly sticking with rhythm?

Question: Which student said Chopin made sure his students knew his legato, cantabile style of playing?

Question: According to Friederike Müller, Chopin insisted his students have the strictest adherence to what?
Passage: With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Question: Chopin was noted as introducing music to what?

Question: What year did Schumann review Chopin's piano concertos?

Question: In his review Schumann made note of Chopin's emotions for what?

Question: Why did Schumann say the Poles were in mourning?

Question: A biography on Chopin released under Franz Liszt's name was likely written by who?

Question: Chopin was able to bring about a new sense of nationalism with his music because of his mazurkas and what?

Question: Who wrote a glowing review of Chopin's love for his country through his music in 1836?

Question: Schumann described Chopin's music as cannons buried in what?

Question: Though Franz Liszt is credited with Chopin's 1863 biography, who probably actually wrote it?
Passage: Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

Question: Who said that Chopin's familiarity with Polish music was more "urbanised" than true folk music?

Question: George Golos references what two musicians when claiming Chopin's nationalism was overrated?

Question: Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?
Passage: A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

Question: William Atwood suggested that Chopin's music wasn't purposely patriotic but what?

Question: A modern commentator, William Atwood, feels Poles not only sought solace in Chopin's music but also found them a source of strength as they continued to fight for what?

Question: Where were Poles scattered to?
Passage: Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Question: Arthur Hutchings stated that Chopin's lack of what made him special?

Question: Who were two of Chopin's contemporaries?

Question: What place was considered lucky for Chopin to have arrived at considering how much he charged for piano lessons?

Question: Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz?
Passage: Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

Question: In what suite did Schumann name a work for Chopin?

Question: What piece of Chopin's work was dedicated to Schumann?

Question: How many of Chopin's Polish songs did Liszt transliterate for piano?

Question: With who did Chopin feel comfortable speaking of folk music with?

Question: What was recognized about Chopin from his musical peers?

Question: What Schumann suite contained the name of a piece Schumann named for Chopin?

Question: What piece did Chopin dedicate to Schumann?

Question: What other musician shows to have elements of Chopin in his work?
Passage: Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

Question: Who dedicated his 1915 piano Études to Chopin?

Question: For what publisher to Debussy edit Chopin's music for?

Question: Who was a student of Chopin's former students and actually recorded some Chopin music?

Question: What music did Debussy play a lot at the Paris Conservatoire?
Passage: The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet.

Question: Who were Wang Jiawei and Nyima Gyaincain?
Passage: Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

Question: What important trade did the Ming Dynasty have with Tibet?

Question: During what years did the Mongol leader Kublai Khan rule?

Question: Who did the Yongle Emperor try to build a religious alliance with?

Question: Deshin Shekpa was the head of what school?

Question: The Tibetan leaders had a diplomacy with what neighboring state?
Passage: The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

Question: What did the Tibetans use against Ming forays?

Question: Who were the armed protectors for the Gelug Dalai Lama?

Question: Which regime did Güshi Khan help establish?

Question: When was the Mongol-Tibetan alliance started?
Passage: Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

Question: In what century did the Tibetan Empire fall?

Question: Who signed multiple peace treaties with the Tang?

Question: What did one of the treaties between the Tang and Tibet help fix?

Question: Who was the Tangs biggest rival?

Question: What year did Tang and Tibet sign a treaty to fix the borders?