gem_id
stringlengths 20
25
| id
stringlengths 24
24
| title
stringlengths 3
59
| context
stringlengths 151
3.71k
| question
stringlengths 1
270
| target
stringlengths 1
270
| references
list | answers
dict |
|---|---|---|---|---|---|---|---|
gem-squad_v2-train-104300
|
5ad212ead7d075001a428317
|
Mandolin
|
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).
|
Who are the other businessmen from the Loar period?
|
Who are the other businessmen from the Loar period?
|
[
" Who are the other businessmen from the Loar period?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104301
|
5ad212ead7d075001a428318
|
Mandolin
|
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).
|
Who were notable modern African mandolin manufacturers?
|
Who were notable modern African mandolin manufacturers?
|
[
" Who were notable modern African mandolin manufacturers?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104302
|
5728a9a74b864d1900164bd2
|
Mandolin
|
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.
|
What instrument does the mandolin share the same tuning of?
|
What instrument does the mandolin share the same tuning of?
|
[
"What instrument does the mandolin share the same tuning of? "
] |
{
"text": [
"violin"
],
"answer_start": [
212
]
}
|
gem-squad_v2-train-104303
|
5728a9a74b864d1900164bd3
|
Mandolin
|
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.
|
Where was the mandolin primarily used?
|
Where was the mandolin primarily used?
|
[
"Where was the mandolin primarily used? "
] |
{
"text": [
"classical tradition with Mandolin orchestras"
],
"answer_start": [
369
]
}
|
gem-squad_v2-train-104304
|
5728a9a74b864d1900164bd4
|
Mandolin
|
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.
|
When was the mandolin considered a fad?
|
When was the mandolin considered a fad?
|
[
"When was the mandolin considered a fad?"
] |
{
"text": [
"early 20th century"
],
"answer_start": [
779
]
}
|
gem-squad_v2-train-104305
|
5728a9a74b864d1900164bd5
|
Mandolin
|
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.
|
Who contributed to the idea that the mandolin was a fad?
|
Who contributed to the idea that the mandolin was a fad?
|
[
"Who contributed to the idea that the mandolin was a fad? "
] |
{
"text": [
"Giuseppe Pettine, Raffaele Calace and Silvio Ranieri"
],
"answer_start": [
663
]
}
|
gem-squad_v2-train-104306
|
5728a9a74b864d1900164bd6
|
Mandolin
|
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.
|
When did the mandolin craze end?
|
When did the mandolin craze end?
|
[
"When did the mandolin craze end?"
] |
{
"text": [
"1930s"
],
"answer_start": [
839
]
}
|
gem-squad_v2-train-104307
|
5ad2131dd7d075001a42831e
|
Mandolin
|
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.
|
What instrument does the mandolin not have the same tuning of?
|
What instrument does the mandolin not have the same tuning of?
|
[
"What instrument does the mandolin not have the same tuning of?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104308
|
5ad2131dd7d075001a42831f
|
Mandolin
|
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.
|
Where wasn't the mandolin primarily used?
|
Where wasn't the mandolin primarily used?
|
[
" Where wasn't the mandolin primarily used?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104309
|
5ad2131dd7d075001a428320
|
Mandolin
|
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.
|
When was the mandolin considered more than a fad?
|
When was the mandolin considered more than a fad?
|
[
" When was the mandolin considered more than a fad?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104310
|
5ad2131dd7d075001a428321
|
Mandolin
|
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.
|
Who contributed to the idea that the mandolin was not just a fad?
|
Who contributed to the idea that the mandolin was not just a fad?
|
[
" Who contributed to the idea that the mandolin was not just a fad?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104311
|
5ad2131dd7d075001a428322
|
Mandolin
|
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.
|
When did the mandolin craze begin?
|
When did the mandolin craze begin?
|
[
" When did the mandolin craze begin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104312
|
5728aaa24b864d1900164be6
|
Mandolin
|
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.
|
Who played a key role Australian mandolin movement?
|
Who played a key role Australian mandolin movement?
|
[
"Who played a key role Australian mandolin movement? "
] |
{
"text": [
"Phil Skinner"
],
"answer_start": [
0
]
}
|
gem-squad_v2-train-104313
|
5728aaa24b864d1900164be7
|
Mandolin
|
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.
|
When did the Australian mandolin movement begin?
|
When did the Australian mandolin movement begin?
|
[
"When did the Australian mandolin movement begin?"
] |
{
"text": [
"20th century"
],
"answer_start": [
34
]
}
|
gem-squad_v2-train-104314
|
5728aaa24b864d1900164be8
|
Mandolin
|
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.
|
When was Phil Skinner awarded an MBE?
|
When was Phil Skinner awarded an MBE?
|
[
"When was Phil Skinner awarded an MBE? "
] |
{
"text": [
"1979"
],
"answer_start": [
124
]
}
|
gem-squad_v2-train-104315
|
5728aaa24b864d1900164be9
|
Mandolin
|
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.
|
What was Phil Skinner's birth name?
|
What was Phil Skinner's birth name?
|
[
"What was Phil Skinner's birth name? "
] |
{
"text": [
"Harry Skinner"
],
"answer_start": [
182
]
}
|
gem-squad_v2-train-104316
|
5728aaa24b864d1900164bea
|
Mandolin
|
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.
|
At what age did Phil Skinner begin playing music?
|
At what age did Phil Skinner begin playing music?
|
[
"At what age did Phil Skinner begin playing music? "
] |
{
"text": [
"10"
],
"answer_start": [
248
]
}
|
gem-squad_v2-train-104317
|
5ad21357d7d075001a42833c
|
Mandolin
|
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.
|
Who played a key role African mandolin movement?
|
Who played a key role African mandolin movement?
|
[
" Who played a key role African mandolin movement?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104318
|
5ad21357d7d075001a42833d
|
Mandolin
|
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.
|
When did the African mandolin movement begin?
|
When did the African mandolin movement begin?
|
[
" When did the African mandolin movement begin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104319
|
5ad21357d7d075001a42833e
|
Mandolin
|
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.
|
When did Phil Skinner lose an MBE?
|
When did Phil Skinner lose an MBE?
|
[
" When did Phil Skinner lose an MBE?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104320
|
5ad21357d7d075001a42833f
|
Mandolin
|
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.
|
What was Phil Skinner's married name?
|
What was Phil Skinner's married name?
|
[
" What was Phil Skinner's married name?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104321
|
5ad21357d7d075001a428340
|
Mandolin
|
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.
|
At what age did Phil Skinner stop playing music?
|
At what age did Phil Skinner stop playing music?
|
[
" At what age did Phil Skinner stop playing music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104322
|
5728ab5aff5b5019007da400
|
Mandolin
|
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.
|
Who is the director of the Sydney Mandolins?
|
Who is the director of the Sydney Mandolins?
|
[
"Who is the director of the Sydney Mandolins?"
] |
{
"text": [
"Adrian Hooper"
],
"answer_start": [
41
]
}
|
gem-squad_v2-train-104323
|
5728ab5aff5b5019007da401
|
Mandolin
|
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.
|
How many commisions of Sydney Mandolins have their been?
|
How many commisions of Sydney Mandolins have their been?
|
[
"How many commisions of Sydney Mandolins have their been?"
] |
{
"text": [
"over 200 works"
],
"answer_start": [
121
]
}
|
gem-squad_v2-train-104324
|
5728ab5aff5b5019007da402
|
Mandolin
|
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.
|
On what media was most of these work released?
|
On what media was most of these work released?
|
[
"On what media was most of these work released?"
] |
{
"text": [
"Compact Disks"
],
"answer_start": [
221
]
}
|
gem-squad_v2-train-104325
|
5728ab5aff5b5019007da403
|
Mandolin
|
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.
|
What radio stations can they be heard on?
|
What radio stations can they be heard on?
|
[
"What radio stations can they be heard on? "
] |
{
"text": [
"ABC and MBS networks"
],
"answer_start": [
287
]
}
|
gem-squad_v2-train-104326
|
5728ab5aff5b5019007da404
|
Mandolin
|
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.
|
Who has had many Concertos written for him?
|
Who has had many Concertos written for him?
|
[
"Who has had many Concertos written for him? "
] |
{
"text": [
"mandolin virtuoso Paul Hooper"
],
"answer_start": [
331
]
}
|
gem-squad_v2-train-104327
|
5ad21390d7d075001a428346
|
Mandolin
|
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.
|
Who isn't the director of the Sydney Mandolins?
|
Who isn't the director of the Sydney Mandolins?
|
[
"Who isn't the director of the Sydney Mandolins?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104328
|
5ad21390d7d075001a428347
|
Mandolin
|
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.
|
How many commissions of Sicily Mandolins have there been?
|
How many commissions of Sicily Mandolins have there been?
|
[
" How many commissions of Sicily Mandolins have there been?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104329
|
5ad21390d7d075001a428348
|
Mandolin
|
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.
|
On what media was most of these work never released?
|
On what media was most of these work never released?
|
[
" On what media was most of these work never released?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104330
|
5ad21390d7d075001a428349
|
Mandolin
|
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.
|
What radio stations can they never be heard on?
|
What radio stations can they never be heard on?
|
[
" What radio stations can they never be heard on?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104331
|
5ad21390d7d075001a42834a
|
Mandolin
|
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.
|
Who has had zero Concertos written for him?
|
Who has had zero Concertos written for him?
|
[
" Who has had zero Concertos written for him?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104332
|
5728abdeff5b5019007da424
|
Mandolin
|
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
|
What is an Etsudiantinas?
|
What is an Etsudiantinas?
|
[
"What is an Etsudiantinas? "
] |
{
"text": [
"mandolin orchestras"
],
"answer_start": [
34
]
}
|
gem-squad_v2-train-104333
|
5728abdeff5b5019007da425
|
Mandolin
|
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
|
Where were the Estudiantinas active in during the early 20th century?
|
Where were the Estudiantinas active in during the early 20th century?
|
[
"Where were the Estudiantinas active in during the early 20th century?"
] |
{
"text": [
"Belgium"
],
"answer_start": [
85
]
}
|
gem-squad_v2-train-104334
|
5728abdeff5b5019007da426
|
Mandolin
|
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
|
What groups remain today?
|
What groups remain today?
|
[
"What groups remain today? "
] |
{
"text": [
"Royal Estudiantina la Napolitaine (founded in 1904) in Antwerp, Brasschaats mandoline orkest in Brasschaat and an orchestra in Mons (Bergen)."
],
"answer_start": [
126
]
}
|
gem-squad_v2-train-104335
|
5728abdeff5b5019007da427
|
Mandolin
|
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
|
Where is Gerda Abts well know in?
|
Where is Gerda Abts well know in?
|
[
"Where is Gerda Abts well know in? "
] |
{
"text": [
"Belgium"
],
"answer_start": [
316
]
}
|
gem-squad_v2-train-104336
|
5728abdeff5b5019007da428
|
Mandolin
|
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
|
Where is Gerda Abst a professor mandolin?
|
Where is Gerda Abst a professor mandolin?
|
[
"Where is Gerda Abst a professor mandolin?"
] |
{
"text": [
"Koninklijk Conservatorium Artesis Hogeschool Antwerpen"
],
"answer_start": [
490
]
}
|
gem-squad_v2-train-104337
|
5ad213ded7d075001a428364
|
Mandolin
|
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
|
What is an Atsudiantinas?
|
What is an Atsudiantinas?
|
[
"What is an Atsudiantinas?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104338
|
5ad213ded7d075001a428365
|
Mandolin
|
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
|
Where were the Estudiantinas active in during the early 21st century?
|
Where were the Estudiantinas active in during the early 21st century?
|
[
"Where were the Estudiantinas active in during the early 21st century?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104339
|
5ad213ded7d075001a428366
|
Mandolin
|
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
|
What groups don't remain today?
|
What groups don't remain today?
|
[
" What groups don't remain today?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104340
|
5ad213ded7d075001a428367
|
Mandolin
|
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
|
Where is Gerda Abts not well known in?
|
Where is Gerda Abts not well known in?
|
[
" Where is Gerda Abts not well known in?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104341
|
5ad213ded7d075001a428368
|
Mandolin
|
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
|
Where is Gerda Abst not a professor mandolin?
|
Where is Gerda Abst not a professor mandolin?
|
[
" Where is Gerda Abst not a professor mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104342
|
5728ac45ff5b5019007da436
|
Mandolin
|
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.
|
Prior to what age did France have a history with the mandolin?
|
Prior to what age did France have a history with the mandolin?
|
[
"Prior to what age did France have a history with the mandolin?"
] |
{
"text": [
"Golden Age of Mandolins"
],
"answer_start": [
13
]
}
|
gem-squad_v2-train-104343
|
5728ac45ff5b5019007da437
|
Mandolin
|
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.
|
Where in France did the mandolinists play?
|
Where in France did the mandolinists play?
|
[
"Where in France did the mandolinists play?"
] |
{
"text": [
"Paris"
],
"answer_start": [
107
]
}
|
gem-squad_v2-train-104344
|
5728ac45ff5b5019007da438
|
Mandolin
|
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.
|
When did the mandolinists stop playing in Paris?
|
When did the mandolinists stop playing in Paris?
|
[
"When did the mandolinists stop playing in Paris?"
] |
{
"text": [
"Napoleonic Wars."
],
"answer_start": [
123
]
}
|
gem-squad_v2-train-104345
|
5728ac45ff5b5019007da439
|
Mandolin
|
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.
|
Who were the players and composers during this time?
|
Who were the players and composers during this time?
|
[
"Who were the players and composers during this time?"
] |
{
"text": [
"Giovanni Fouchetti, Eduardo Mezzacapo, Gabriele Leon, and Gervasio"
],
"answer_start": [
185
]
}
|
gem-squad_v2-train-104346
|
5728ac45ff5b5019007da43a
|
Mandolin
|
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.
|
What years was considered the Golden Age of Mandolins?
|
What years was considered the Golden Age of Mandolins?
|
[
"What years was considered the Golden Age of Mandolins?"
] |
{
"text": [
"1880s-1920s"
],
"answer_start": [
283
]
}
|
gem-squad_v2-train-104347
|
5ad21412d7d075001a42836e
|
Mandolin
|
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.
|
Prior to what age did Italy have a history with the mandolin?
|
Prior to what age did Italy have a history with the mandolin?
|
[
"Prior to what age did Italy have a history with the mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104348
|
5ad21412d7d075001a42836f
|
Mandolin
|
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.
|
Where in Italy did the mandolinists play?
|
Where in Italy did the mandolinists play?
|
[
" Where in Italy did the mandolinists play?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104349
|
5ad21412d7d075001a428370
|
Mandolin
|
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.
|
When did the mandolinists start playing in Paris?
|
When did the mandolinists start playing in Paris?
|
[
" When did the mandolinists start playing in Paris?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104350
|
5ad21412d7d075001a428371
|
Mandolin
|
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.
|
Who weren't the players and composers during this time?
|
Who weren't the players and composers during this time?
|
[
" Who weren't the players and composers during this time?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104351
|
5ad21412d7d075001a428372
|
Mandolin
|
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.
|
What years weren't considered the Golden Age of Mandolins?
|
What years weren't considered the Golden Age of Mandolins?
|
[
" What years weren't considered the Golden Age of Mandolins?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104352
|
5728aeb92ca10214002da5b0
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
What Island is the mandolin a main instrument in Cretan Music?
|
What Island is the mandolin a main instrument in Cretan Music?
|
[
"What Island is the mandolin a main instrument in Cretan Music? "
] |
{
"text": [
"island of Crete"
],
"answer_start": [
7
]
}
|
gem-squad_v2-train-104353
|
5728aeb92ca10214002da5b1
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
When did the mandolin appears on Crete?
|
When did the mandolin appears on Crete?
|
[
"When did the mandolin appears on Crete?"
] |
{
"text": [
"around the time of the Venetian rule of the island."
],
"answer_start": [
154
]
}
|
gem-squad_v2-train-104354
|
5728aeb92ca10214002da5b2
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
What was one of the variants of the mandolin that was used?
|
What was one of the variants of the mandolin that was used?
|
[
"What was one of the variants of the mandolin that was used?"
] |
{
"text": [
"mantola"
],
"answer_start": [
255
]
}
|
gem-squad_v2-train-104355
|
5728aeb92ca10214002da5b3
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
Who reported that the mandolin and the mpoulgari were used to accompany the lyria?
|
Who reported that the mandolin and the mpoulgari were used to accompany the lyria?
|
[
"Who reported that the mandolin and the mpoulgari were used to accompany the lyria? "
] |
{
"text": [
"Stelios Foustalierakis"
],
"answer_start": [
326
]
}
|
gem-squad_v2-train-104356
|
5728aeb92ca10214002da5b4
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
The mandolin was reported to be popular among what sex?
|
The mandolin was reported to be popular among what sex?
|
[
"The mandolin was reported to be popular among what sex? "
] |
{
"text": [
"woman"
],
"answer_start": [
542
]
}
|
gem-squad_v2-train-104357
|
5ad2144bd7d075001a428388
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
What Island is the mandolin not a main instrument in Cretan Music?
|
What Island is the mandolin not a main instrument in Cretan Music?
|
[
"What Island is the mandolin not a main instrument in Cretan Music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104358
|
5ad2144bd7d075001a428389
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
When did the mandolin leave Crete?
|
When did the mandolin leave Crete?
|
[
" When did the mandolin leave Crete?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104359
|
5ad2144bd7d075001a42838a
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
What was one of the variants of the mandolin that was never used?
|
What was one of the variants of the mandolin that was never used?
|
[
" What was one of the variants of the mandolin that was never used?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104360
|
5ad2144bd7d075001a42838b
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
Who reported that the mandolin and the mpoulgari were not used to accompany the lyria?
|
Who reported that the mandolin and the mpoulgari were not used to accompany the lyria?
|
[
"Who reported that the mandolin and the mpoulgari were not used to accompany the lyria?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104361
|
5ad2144bd7d075001a42838c
|
Mandolin
|
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete.
|
The mandolin was reported to be unpopular among what sex?
|
The mandolin was reported to be unpopular among what sex?
|
[
" The mandolin was reported to be unpopular among what sex?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104362
|
5728af434b864d1900164c1c
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
Many adaptations of the instruments were done to cater to what type of music?
|
Many adaptations of the instruments were done to cater to what type of music?
|
[
"Many adaptations of the instruments were done to cater to what type of music? "
] |
{
"text": [
"Indian Carnatic"
],
"answer_start": [
83
]
}
|
gem-squad_v2-train-104363
|
5728af434b864d1900164c1d
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
What is the mandolin usually tuned to for Indian music?
|
What is the mandolin usually tuned to for Indian music?
|
[
"What is the mandolin usually tuned to for Indian music?"
] |
{
"text": [
"E-B-E-B."
],
"answer_start": [
244
]
}
|
gem-squad_v2-train-104364
|
5728af434b864d1900164c1e
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
There is no concept of what in Indian music?
|
There is no concept of what in Indian music?
|
[
"There is no concept of what in Indian music? "
] |
{
"text": [
"absolute pitch"
],
"answer_start": [
279
]
}
|
gem-squad_v2-train-104365
|
5728af434b864d1900164c1f
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
What is another popular madonlin tuning?
|
What is another popular madonlin tuning?
|
[
"What is another popular madonlin tuning? "
] |
{
"text": [
"C-G-C-G"
],
"answer_start": [
468
]
}
|
gem-squad_v2-train-104366
|
5728af434b864d1900164c20
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
These mandolin are used in a popular dance music called?
|
These mandolin are used in a popular dance music called?
|
[
"These mandolin are used in a popular dance music called? "
] |
{
"text": [
"Bhangra"
],
"answer_start": [
677
]
}
|
gem-squad_v2-train-104367
|
5ad21485d7d075001a428392
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
Many adaptations of the instruments were done to not cater to what type of music?
|
Many adaptations of the instruments were done to not cater to what type of music?
|
[
"Many adaptations of the instruments were done to not cater to what type of music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104368
|
5ad21485d7d075001a428393
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
What is the mandolin usually tuned to for Asian music?
|
What is the mandolin usually tuned to for Asian music?
|
[
" What is the mandolin usually tuned to for Asian music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104369
|
5ad21485d7d075001a428394
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
There is no concept of what in Asian music?
|
There is no concept of what in Asian music?
|
[
" There is no concept of what in Asian music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104370
|
5ad21485d7d075001a428395
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
What is not a popular madonlin tuning?
|
What is not a popular madonlin tuning?
|
[
" What is not a popular madonlin tuning?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104371
|
5ad21485d7d075001a428396
|
Mandolin
|
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture.
|
These mandolin are used in unpopular dance music called?
|
These mandolin are used in unpopular dance music called?
|
[
"These mandolin are used in unpopular dance music called?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104372
|
5728b027ff5b5019007da484
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
What types of instruments do irish player prefer?
|
What types of instruments do irish player prefer?
|
[
"What types of instruments do irish player prefer?"
] |
{
"text": [
"might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes"
],
"answer_start": [
47
]
}
|
gem-squad_v2-train-104373
|
5728b027ff5b5019007da485
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
Why is it said that the Italian style can't hold their own session?
|
Why is it said that the Italian style can't hold their own session?
|
[
"Why is it said that the Italian style can't hold their own session? "
] |
{
"text": [
"too soft-toned"
],
"answer_start": [
314
]
}
|
gem-squad_v2-train-104374
|
5728b027ff5b5019007da486
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
Which type mandolin had a tendency not to stay in the player's lap?
|
Which type mandolin had a tendency not to stay in the player's lap?
|
[
"Which type mandolin had a tendency not to stay in the player's lap?"
] |
{
"text": [
"the carved-top mandolins with f-holes"
],
"answer_start": [
219
]
}
|
gem-squad_v2-train-104375
|
5728b027ff5b5019007da487
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
Which mandolin was preferred for formal performances and recordings?
|
Which mandolin was preferred for formal performances and recordings?
|
[
"Which mandolin was preferred for formal performances and recordings? "
] |
{
"text": [
"flat-topped \"Irish-style\" mandolins"
],
"answer_start": [
714
]
}
|
gem-squad_v2-train-104376
|
5728b027ff5b5019007da488
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
What was the Irish style mandolin reminiscent of?
|
What was the Irish style mandolin reminiscent of?
|
[
"What was the Irish style mandolin reminiscent of?"
] |
{
"text": [
"WWI-era Martin Army-Navy mandolin"
],
"answer_start": [
770
]
}
|
gem-squad_v2-train-104377
|
5ad22a90d7d075001a4285d0
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
What types of instruments do Italian player prefer?
|
What types of instruments do Italian player prefer?
|
[
"What types of instruments do Italian player prefer?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104378
|
5ad22a90d7d075001a4285d1
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
Why is it said that the Italian style can hold their own session?
|
Why is it said that the Italian style can hold their own session?
|
[
" Why is it said that the Italian style can hold their own session?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104379
|
5ad22a90d7d075001a4285d2
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
Which type mandolin didn't have a tendency not to stay in the player's lap?
|
Which type mandolin didn't have a tendency not to stay in the player's lap?
|
[
" Which type mandolin didn't have a tendency not to stay in the player's lap?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104380
|
5ad22a90d7d075001a4285d3
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
Which mandolin wasn't preferred for formal performances and recordings?
|
Which mandolin wasn't preferred for formal performances and recordings?
|
[
"Which mandolin wasn't preferred for formal performances and recordings?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104381
|
5ad22a90d7d075001a4285d4
|
Mandolin
|
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s.
|
What was the Italian style mandolin reminiscent of?
|
What was the Italian style mandolin reminiscent of?
|
[
"What was the Italian style mandolin reminiscent of?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104382
|
5728b1163acd2414000dfcd1
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
Who are some of the famous Irish Mandolinists?
|
Who are some of the famous Irish Mandolinists?
|
[
"Who are some of the famous Irish Mandolinists?"
] |
{
"text": [
"Andy Irvine"
],
"answer_start": [
38
]
}
|
gem-squad_v2-train-104383
|
5728b1163acd2414000dfcd2
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
Who are popular fiddle player and tenor banjo player?
|
Who are popular fiddle player and tenor banjo player?
|
[
"Who are popular fiddle player and tenor banjo player?"
] |
{
"text": [
"John Sheahan and the late Barney McKenna"
],
"answer_start": [
215
]
}
|
gem-squad_v2-train-104384
|
5728b1163acd2414000dfcd3
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
What was John Sheahan and Barney Mckenna's band called?
|
What was John Sheahan and Barney Mckenna's band called?
|
[
"What was John Sheahan and Barney Mckenna's band called?"
] |
{
"text": [
"The Dubliners,"
],
"answer_start": [
312
]
}
|
gem-squad_v2-train-104385
|
5728b1163acd2414000dfcd4
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
Who made the instruments used by the Dubliners?
|
Who made the instruments used by the Dubliners?
|
[
"Who made the instruments used by the Dubliners?"
] |
{
"text": [
"UK luthier Roger Bucknall of Fylde Guitars"
],
"answer_start": [
465
]
}
|
gem-squad_v2-train-104386
|
5728b1163acd2414000dfcd5
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
What Irish guitarist played the mandolin on stage?
|
What Irish guitarist played the mandolin on stage?
|
[
"What Irish guitarist played the mandolin on stage?"
] |
{
"text": [
"Rory Gallagher"
],
"answer_start": [
627
]
}
|
gem-squad_v2-train-104387
|
5ad22b4bd7d075001a4285ec
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
Who are some of the famous Italian Mandolinists?
|
Who are some of the famous Italian Mandolinists?
|
[
" Who are some of the famous Italian Mandolinists?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104388
|
5ad22b4bd7d075001a4285ed
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
Who are unpopular fiddle player and tenor banjo player?
|
Who are unpopular fiddle player and tenor banjo player?
|
[
"Who are unpopular fiddle player and tenor banjo player?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104389
|
5ad22b4bd7d075001a4285ee
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
What was John Sheahan and Barney Mckenna's job called?
|
What was John Sheahan and Barney Mckenna's job called?
|
[
" What was John Sheahan and Barney Mckenna's job called?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104390
|
5ad22b4bd7d075001a4285ef
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
Who made the instruments used by the Italian group?
|
Who made the instruments used by the Italian group?
|
[
" Who made the instruments used by the Italian group?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104391
|
5ad22b4bd7d075001a4285f0
|
Mandolin
|
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown."
|
What Irish guitarist played the mandolin off stage?
|
What Irish guitarist played the mandolin off stage?
|
[
" What Irish guitarist played the mandolin off stage?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104392
|
5728b18d3acd2414000dfce5
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
Who composed the Concerto in C Major Op 3 6?
|
Who composed the Concerto in C Major Op 3 6?
|
[
"Who composed the Concerto in C Major Op 3 6?"
] |
{
"text": [
"Antonio Vivaldi"
],
"answer_start": [
0
]
}
|
gem-squad_v2-train-104393
|
5728b18d3acd2414000dfce6
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
Who placed it in his 1787 work?
|
Who placed it in his 1787 work?
|
[
"Who placed it in his 1787 work? "
] |
{
"text": [
"Wolfgang Amadeus Mozart"
],
"answer_start": [
125
]
}
|
gem-squad_v2-train-104394
|
5728b18d3acd2414000dfce7
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
What two artists created four variations of the Concerto in C Major Op 3 6?
|
What two artists created four variations of the Concerto in C Major Op 3 6?
|
[
"What two artists created four variations of the Concerto in C Major Op 3 6?"
] |
{
"text": [
"Don Giovanni and Beethoven"
],
"answer_start": [
176
]
}
|
gem-squad_v2-train-104395
|
5728b18d3acd2414000dfce8
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
Who composed the La conquista della Spagne di Scipione Afriacano il giovance?
|
Who composed the La conquista della Spagne di Scipione Afriacano il giovance?
|
[
"Who composed the La conquista della Spagne di Scipione Afriacano il giovance?"
] |
{
"text": [
"Antonio Maria Bononcini"
],
"answer_start": [
234
]
}
|
gem-squad_v2-train-104396
|
5728b18d3acd2414000dfce9
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
When was Alexander Balus composed?
|
When was Alexander Balus composed?
|
[
"When was Alexander Balus composed? "
] |
{
"text": [
"1748"
],
"answer_start": [
388
]
}
|
gem-squad_v2-train-104397
|
5ad22dcad7d075001a428650
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
Who composed the Concerto in D Major Op 3 6?
|
Who composed the Concerto in D Major Op 3 6?
|
[
" Who composed the Concerto in D Major Op 3 6?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104398
|
5ad22dcad7d075001a428651
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
Who placed it in his 1789 work?
|
Who placed it in his 1789 work?
|
[
" Who placed it in his 1789 work?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104399
|
5ad22dcad7d075001a428652
|
Mandolin
|
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo).
|
What two artists created five variations of the Concerto in D Major Op 3 6?
|
What two artists created five variations of the Concerto in D Major Op 3 6?
|
[
"What two artists created five variations of the Concerto in D Major Op 3 6?"
] |
{
"text": [],
"answer_start": []
}
|
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