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-104400
|
5ad22dcad7d075001a428653
|
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 rejected the La conquista della Spagne di Scipione Afriacano il giovance?
|
Who rejected the La conquista della Spagne di Scipione Afriacano il giovance?
|
[
"Who rejected the La conquista della Spagne di Scipione Afriacano il giovance?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104401
|
5728b201ff5b5019007da4a2
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
What country still maintains strong classic music tradition with mandolin?
|
What country still maintains strong classic music tradition with mandolin?
|
[
"What country still maintains strong classic music tradition with mandolin?"
] |
{
"text": [
"Japan"
],
"answer_start": [
87
]
}
|
gem-squad_v2-train-104402
|
5728b201ff5b5019007da4a3
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
How many people compose the Japanese mandolin orchestras?
|
How many people compose the Japanese mandolin orchestras?
|
[
"How many people compose the Japanese mandolin orchestras?"
] |
{
"text": [
"40 or 50 members"
],
"answer_start": [
341
]
}
|
gem-squad_v2-train-104403
|
5728b201ff5b5019007da4a4
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
What other instruments do the Japanese madnolin orchestras play?
|
What other instruments do the Japanese madnolin orchestras play?
|
[
"What other instruments do the Japanese madnolin orchestras play?"
] |
{
"text": [
"include woodwind, percussion, and brass sections."
],
"answer_start": [
367
]
}
|
gem-squad_v2-train-104404
|
5728b201ff5b5019007da4a5
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
Japan hold and extensive collection of what?
|
Japan hold and extensive collection of what?
|
[
"Japan hold and extensive collection of what? "
] |
{
"text": [
"20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age"
],
"answer_start": [
465
]
}
|
gem-squad_v2-train-104405
|
5728b201ff5b5019007da4a6
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
Who purhcased one of the collections of mandolin magazines?
|
Who purhcased one of the collections of mandolin magazines?
|
[
"Who purhcased one of the collections of mandolin magazines? "
] |
{
"text": [
"Morishige Takei."
],
"answer_start": [
609
]
}
|
gem-squad_v2-train-104406
|
5ad22e93d7d075001a42866a
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
What country doesn't maintain strong classic music tradition with mandolin?
|
What country doesn't maintain strong classic music tradition with mandolin?
|
[
"What country doesn't maintain strong classic music tradition with mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104407
|
5ad22e93d7d075001a42866b
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
How many people compose the Chinese mandolin orchestras?
|
How many people compose the Chinese mandolin orchestras?
|
[
" How many people compose the Chinese mandolin orchestras?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104408
|
5ad22e93d7d075001a42866c
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
What other instruments do the Chinese mandolin orchestras play?
|
What other instruments do the Chinese mandolin orchestras play?
|
[
" What other instruments do the Chinese mandolin orchestras play?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104409
|
5ad22e93d7d075001a42866d
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
Japan doesn't hold an extensive collection of what?
|
Japan doesn't hold an extensive collection of what?
|
[
" Japan doesn't hold an extensive collection of what?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104410
|
5ad22e93d7d075001a42866e
|
Mandolin
|
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei.
|
Who sold one of the collections of mandolin magazines?
|
Who sold one of the collections of mandolin magazines?
|
[
" Who sold one of the collections of mandolin magazines?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104411
|
5728b2813acd2414000dfcf7
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
What does bandolim mean?
|
What does bandolim mean?
|
[
"What does bandolim mean?"
] |
{
"text": [
"Portuguese for \"mandolin\""
],
"answer_start": [
14
]
}
|
gem-squad_v2-train-104412
|
5728b2813acd2414000dfcf8
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
When was the bandolim porpular among the Portugese bourgeoisie?
|
When was the bandolim porpular among the Portugese bourgeoisie?
|
[
"When was the bandolim porpular among the Portugese bourgeoisie?"
] |
{
"text": [
"19th century"
],
"answer_start": [
109
]
}
|
gem-squad_v2-train-104413
|
5728b2813acd2414000dfcf9
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
Where can you see mandolins a part of in Portgal?
|
Where can you see mandolins a part of in Portgal?
|
[
"Where can you see mandolins a part of in Portgal? "
] |
{
"text": [
"traditional and folk culture"
],
"answer_start": [
239
]
}
|
gem-squad_v2-train-104414
|
5728b2813acd2414000dfcfa
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
Where is the Portuguese mandolin scene located?
|
Where is the Portuguese mandolin scene located?
|
[
"Where is the Portuguese mandolin scene located? "
] |
{
"text": [
"Madeira Island"
],
"answer_start": [
354
]
}
|
gem-squad_v2-train-104415
|
5728b2813acd2414000dfcfb
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
How many active mandolin orchestras does the Madiera Island have?
|
How many active mandolin orchestras does the Madiera Island have?
|
[
"How many active mandolin orchestras does the Madiera Island have? "
] |
{
"text": [
"over 17"
],
"answer_start": [
382
]
}
|
gem-squad_v2-train-104416
|
5ad22fced7d075001a42869a
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
What does bandolin mean?
|
What does bandolin mean?
|
[
" What does bandolin mean?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104417
|
5ad22fced7d075001a42869b
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
When was the bandolim not popular among the Portugese bourgeoisie?
|
When was the bandolim not popular among the Portugese bourgeoisie?
|
[
"When was the bandolim not popular among the Portugese bourgeoisie?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104418
|
5ad22fced7d075001a42869c
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
Where can you not see mandolins a part of in Portgal?
|
Where can you not see mandolins a part of in Portgal?
|
[
" Where can you not see mandolins a part of in Portgal?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104419
|
5ad22fced7d075001a42869d
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
Where is the Japanese mandolin scene located?
|
Where is the Japanese mandolin scene located?
|
[
" Where is the Japanese mandolin scene located?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104420
|
5ad22fced7d075001a42869e
|
Mandolin
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil.
|
How many active mandolin orchestras does the Chinese Island have?
|
How many active mandolin orchestras does the Chinese Island have?
|
[
"How many active mandolin orchestras does the Chinese Island have?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104421
|
5728b30aff5b5019007da4ca
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
Who is a famous British player?
|
Who is a famous British player?
|
[
"Who is a famous British player?"
] |
{
"text": [
"Simon Mayor"
],
"answer_start": [
105
]
}
|
gem-squad_v2-train-104422
|
5728b30aff5b5019007da4cb
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
What did Simon mayer produce?
|
What did Simon mayer produce?
|
[
"What did Simon mayer produce? "
] |
{
"text": [
"six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents."
],
"answer_start": [
164
]
}
|
gem-squad_v2-train-104423
|
5728b30aff5b5019007da4cc
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
Who played the mandolin on the album Tubular Bells?
|
Who played the mandolin on the album Tubular Bells?
|
[
"Who played the mandolin on the album Tubular Bells? "
] |
{
"text": [
"Mike Oldfield"
],
"answer_start": [
369
]
}
|
gem-squad_v2-train-104424
|
5728b30aff5b5019007da4cd
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
What was UK's biggest selling album?
|
What was UK's biggest selling album?
|
[
"What was UK's biggest selling album? "
] |
{
"text": [
"\"Fog on the Tyne"
],
"answer_start": [
724
]
}
|
gem-squad_v2-train-104425
|
5728b30aff5b5019007da4ce
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
What song by Rod Stewart used the mandolin?
|
What song by Rod Stewart used the mandolin?
|
[
"What song by Rod Stewart used the mandolin? "
] |
{
"text": [
"Maggie May"
],
"answer_start": [
993
]
}
|
gem-squad_v2-train-104426
|
5ad23048d7d075001a4286b6
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
Who is a famous Asian player?
|
Who is a famous Asian player?
|
[
" Who is a famous Asian player?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104427
|
5ad23048d7d075001a4286b7
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
What did Simon mayer sell?
|
What did Simon mayer sell?
|
[
" What did Simon mayer sell?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104428
|
5ad23048d7d075001a4286b8
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
Who played the mandolin on the album Tubular Chimes?
|
Who played the mandolin on the album Tubular Chimes?
|
[
" Who played the mandolin on the album Tubular Chimes?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104429
|
5ad23048d7d075001a4286b9
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
What was US's biggest selling album?
|
What was US's biggest selling album?
|
[
" What was US's biggest selling album?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104430
|
5ad23048d7d075001a4286ba
|
Mandolin
|
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed]
|
What song by Bob Stewart used the mandolin?
|
What song by Bob Stewart used the mandolin?
|
[
" What song by Bob Stewart used the mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104431
|
5728b4224b864d1900164c64
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
What group in the US was popular?
|
What group in the US was popular?
|
[
"What group in the US was popular?"
] |
{
"text": [
"Estudiantina Figaro"
],
"answer_start": [
134
]
}
|
gem-squad_v2-train-104432
|
5728b4224b864d1900164c65
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
When did the Estudiantina Figaro come to the US?
|
When did the Estudiantina Figaro come to the US?
|
[
"When did the Estudiantina Figaro come to the US?"
] |
{
"text": [
"January 2, 1880"
],
"answer_start": [
243
]
}
|
gem-squad_v2-train-104433
|
5728b4224b864d1900164c66
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
Where did the Estudiantina Figaro play?
|
Where did the Estudiantina Figaro play?
|
[
"Where did the Estudiantina Figaro play? "
] |
{
"text": [
"Boston and New York"
],
"answer_start": [
291
]
}
|
gem-squad_v2-train-104434
|
5728b4224b864d1900164c67
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
What group was inspired by the Estudiantina Figaro?
|
What group was inspired by the Estudiantina Figaro?
|
[
"What group was inspired by the Estudiantina Figaro? "
] |
{
"text": [
"Original Spanish Students"
],
"answer_start": [
779
]
}
|
gem-squad_v2-train-104435
|
5728b4224b864d1900164c68
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
What did the Origianl Spanish Students expect the American public not to know?
|
What did the Origianl Spanish Students expect the American public not to know?
|
[
"What did the Origianl Spanish Students expect the American public not to know? "
] |
{
"text": [
"the difference between the Spanish bandurrias and Italian mandolins"
],
"answer_start": [
851
]
}
|
gem-squad_v2-train-104436
|
5ad230fcd7d075001a4286f8
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
What group in the UK was popular?
|
What group in the UK was popular?
|
[
"What group in the UK was popular?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104437
|
5ad230fcd7d075001a4286f9
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
When did the Estudiantina Figaro leave the US?
|
When did the Estudiantina Figaro leave the US?
|
[
" When did the Estudiantina Figaro leave the US?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104438
|
5ad230fcd7d075001a4286fa
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
Where did the Estudiantina Figaro refuse to play?
|
Where did the Estudiantina Figaro refuse to play?
|
[
" Where did the Estudiantina Figaro refuse to play?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104439
|
5ad230fcd7d075001a4286fb
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
What group wasn't inspired by the Estudiantina Figaro?
|
What group wasn't inspired by the Estudiantina Figaro?
|
[
" What group wasn't inspired by the Estudiantina Figaro?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104440
|
5ad230fcd7d075001a4286fc
|
Mandolin
|
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
|
What did the Origianl Spanish Students expect the African public not to know?
|
What did the Origianl Spanish Students expect the African public not to know?
|
[
"What did the Origianl Spanish Students expect the African public not to know?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104441
|
5728b4714b864d1900164c6e
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
When did madolin awareness in the US become fluent?
|
When did madolin awareness in the US become fluent?
|
[
"When did madolin awareness in the US become fluent?"
] |
{
"text": [
"1880s"
],
"answer_start": [
57
]
}
|
gem-squad_v2-train-104442
|
5728b4714b864d1900164c6f
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
When was the first madolin made in the US?
|
When was the first madolin made in the US?
|
[
"When was the first madolin made in the US?"
] |
{
"text": [
"1883 or 1884"
],
"answer_start": [
228
]
}
|
gem-squad_v2-train-104443
|
5728b4714b864d1900164c70
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
Who made the first US mandolin?
|
Who made the first US mandolin?
|
[
"Who made the first US mandolin?"
] |
{
"text": [
"Joseph Bohm"
],
"answer_start": [
244
]
}
|
gem-squad_v2-train-104444
|
5728b4714b864d1900164c71
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
Where was Joseph Bohmann from?
|
Where was Joseph Bohmann from?
|
[
"Where was Joseph Bohmann from? "
] |
{
"text": [
"Chicago"
],
"answer_start": [
303
]
}
|
gem-squad_v2-train-104445
|
5728b4714b864d1900164c72
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
What type of madolin was Partee using ?
|
What type of madolin was Partee using ?
|
[
"What type of madolin was Partee using ?"
] |
{
"text": [
"French-made mandolin"
],
"answer_start": [
612
]
}
|
gem-squad_v2-train-104446
|
5ad231c0d7d075001a428732
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
When didn't madolin awareness in the US become fluent?
|
When didn't madolin awareness in the US become fluent?
|
[
"When didn't madolin awareness in the US become fluent?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104447
|
5ad231c0d7d075001a428733
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
When was the first mandolin destroyed in the US?
|
When was the first mandolin destroyed in the US?
|
[
" When was the first mandolin destroyed in the US?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104448
|
5ad231c0d7d075001a428734
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
Who made the first UK mandolin?
|
Who made the first UK mandolin?
|
[
" Who made the first UK mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104449
|
5ad231c0d7d075001a428735
|
Mandolin
|
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin.
|
What type of mandolin was Partee not using?
|
What type of mandolin was Partee not using?
|
[
" What type of mandolin was Partee not using?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104450
|
5728b5c04b864d1900164c94
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
What popular musical casted a teacher-dealer?
|
What popular musical casted a teacher-dealer?
|
[
"What popular musical casted a teacher-dealer? "
] |
{
"text": [
"The Music Man"
],
"answer_start": [
97
]
}
|
gem-squad_v2-train-104451
|
5728b5c04b864d1900164c95
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
What did these teacher-dealers often conduct?
|
What did these teacher-dealers often conduct?
|
[
"What did these teacher-dealers often conduct? "
] |
{
"text": [
"mandolin orchestras"
],
"answer_start": [
151
]
}
|
gem-squad_v2-train-104452
|
5728b5c04b864d1900164c96
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
How many people were usually in these teacher-dealer orchestras?
|
How many people were usually in these teacher-dealer orchestras?
|
[
"How many people were usually in these teacher-dealer orchestras? "
] |
{
"text": [
"4-50 musicians"
],
"answer_start": [
182
]
}
|
gem-squad_v2-train-104453
|
5728b5c04b864d1900164c97
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
Who played the mandolin in Vaudeville?
|
Who played the mandolin in Vaudeville?
|
[
"Who played the mandolin in Vaudeville? "
] |
{
"text": [
"Samuel Siegel"
],
"answer_start": [
529
]
}
|
gem-squad_v2-train-104454
|
5728b5c04b864d1900164c98
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
Who was the famous African American musican and director?
|
Who was the famous African American musican and director?
|
[
"Who was the famous African American musican and director? "
] |
{
"text": [
"composer James Reese Europe."
],
"answer_start": [
871
]
}
|
gem-squad_v2-train-104455
|
5ad231f3d7d075001a428744
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
What popular musical casted a student-dealer?
|
What popular musical casted a student-dealer?
|
[
"What popular musical casted a student-dealer?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104456
|
5ad231f3d7d075001a428745
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
What did these student-dealers often conduct?
|
What did these student-dealers often conduct?
|
[
" What did these student-dealers often conduct?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104457
|
5ad231f3d7d075001a428746
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
How many people were usually in these student-dealer orchestras?
|
How many people were usually in these student-dealer orchestras?
|
[
" How many people were usually in these student-dealer orchestras?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104458
|
5ad231f3d7d075001a428747
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
Who refused to play the mandolin in Vaudeville?
|
Who refused to play the mandolin in Vaudeville?
|
[
" Who refused to play the mandolin in Vaudeville?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104459
|
5ad231f3d7d075001a428748
|
Mandolin
|
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer.
|
Who was the famous North American musican and director?
|
Who was the famous North American musican and director?
|
[
"Who was the famous North American musican and director?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104460
|
5728b6383acd2414000dfd2f
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
The setting the mandolin was used in until the 1930's was?
|
The setting the mandolin was used in until the 1930's was?
|
[
"The setting the mandolin was used in until the 1930's was? "
] |
{
"text": [
"ensemble setting"
],
"answer_start": [
40
]
}
|
gem-squad_v2-train-104461
|
5728b6383acd2414000dfd30
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
Where did the mandolins find a new home?
|
Where did the mandolins find a new home?
|
[
"Where did the mandolins find a new home? "
] |
{
"text": [
"bluegrass"
],
"answer_start": [
213
]
}
|
gem-squad_v2-train-104462
|
5728b6383acd2414000dfd31
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
What mandolin was designed to boost interest in the mandolin?
|
What mandolin was designed to boost interest in the mandolin?
|
[
"What mandolin was designed to boost interest in the mandolin?"
] |
{
"text": [
"Lloyd Loar Master Model from Gibson"
],
"answer_start": [
235
]
}
|
gem-squad_v2-train-104463
|
5728b6383acd2414000dfd32
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
What mandolin became the face of bluegrass music?
|
What mandolin became the face of bluegrass music?
|
[
"What mandolin became the face of bluegrass music?"
] |
{
"text": [
"Loar"
],
"answer_start": [
380
]
}
|
gem-squad_v2-train-104464
|
5728b6383acd2414000dfd33
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
What instrument did artist Bill Monroe use?
|
What instrument did artist Bill Monroe use?
|
[
"What instrument did artist Bill Monroe use? "
] |
{
"text": [
"F-5 S/N 73987"
],
"answer_start": [
463
]
}
|
gem-squad_v2-train-104465
|
5ad23238d7d075001a428758
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
The setting the mandolin was used in until the 1940's was?
|
The setting the mandolin was used in until the 1940's was?
|
[
" The setting the mandolin was used in until the 1940's was?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104466
|
5ad23238d7d075001a428759
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
Where did the mandolins never find a new job?
|
Where did the mandolins never find a new job?
|
[
"Where did the mandolins never find a new job?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104467
|
5ad23238d7d075001a42875a
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
What mandolin wasn't designed to boost interest in the mandolin?
|
What mandolin wasn't designed to boost interest in the mandolin?
|
[
" What mandolin wasn't designed to boost interest in the mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104468
|
5ad23238d7d075001a42875b
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
What mandolin didn't become the face of bluegrass music?
|
What mandolin didn't become the face of bluegrass music?
|
[
" What mandolin didn't become the face of bluegrass music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104469
|
5ad23238d7d075001a42875c
|
Mandolin
|
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument.
|
What instrument didn't artist Bill Monroe use?
|
What instrument didn't artist Bill Monroe use?
|
[
" What instrument didn't artist Bill Monroe use?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104470
|
5728b6ce2ca10214002da63e
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
What groups have become popular amonbgpublic schools?
|
What groups have become popular amonbgpublic schools?
|
[
"What groups have become popular amonbgpublic schools?"
] |
{
"text": [
"mandolin-based guitar programs"
],
"answer_start": [
461
]
}
|
gem-squad_v2-train-104471
|
5728b6ce2ca10214002da63f
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
What are two of the popular public school groups?
|
What are two of the popular public school groups?
|
[
"What are two of the popular public school groups? "
] |
{
"text": [
"Fretworks Mandolin and Guitar Orchestra"
],
"answer_start": [
537
]
}
|
gem-squad_v2-train-104472
|
5728b6ce2ca10214002da640
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
Who found the Classical Mandolin Society of America?
|
Who found the Classical Mandolin Society of America?
|
[
"Who found the Classical Mandolin Society of America?"
] |
{
"text": [
"Norman Levine"
],
"answer_start": [
678
]
}
|
gem-squad_v2-train-104473
|
5728b6ce2ca10214002da641
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
Who are modern mandolinists and composers?
|
Who are modern mandolinists and composers?
|
[
"Who are modern mandolinists and composers?"
] |
{
"text": [
"Samuel Firstman, Howard Fry, Rudy Cipolla"
],
"answer_start": [
816
]
}
|
gem-squad_v2-train-104474
|
5ad233cdd7d075001a4287bc
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
What groups have become unpopular among public schools?
|
What groups have become unpopular among public schools?
|
[
"What groups have become unpopular among public schools?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104475
|
5ad233cdd7d075001a4287bd
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
What are two of the unpopular public school groups?
|
What are two of the unpopular public school groups?
|
[
" What are two of the unpopular public school groups?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104476
|
5ad233cdd7d075001a4287be
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
Who found the non-Classical Mandolin Society of America?
|
Who found the non-Classical Mandolin Society of America?
|
[
" Who found the non-Classical Mandolin Society of America?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104477
|
5ad233cdd7d075001a4287bf
|
Mandolin
|
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek.
|
Who aren't modern mandolinists and composers?
|
Who aren't modern mandolinists and composers?
|
[
" Who aren't modern mandolinists and composers?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104478
|
5728b741ff5b5019007da546
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
What family recorded an old-time music in 1924-1926?
|
What family recorded an old-time music in 1924-1926?
|
[
"What family recorded an old-time music in 1924-1926?"
] |
{
"text": [
"Cowan Powers and his family"
],
"answer_start": [
5
]
}
|
gem-squad_v2-train-104479
|
5728b741ff5b5019007da547
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
Who was the earliest known southern music artist?
|
Who was the earliest known southern music artist?
|
[
"Who was the earliest known southern music artist?"
] |
{
"text": [
"Orpha Powers"
],
"answer_start": [
92
]
}
|
gem-squad_v2-train-104480
|
5728b741ff5b5019007da548
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
What type of mandolin was becoming popular by 1930's?
|
What type of mandolin was becoming popular by 1930's?
|
[
"What type of mandolin was becoming popular by 1930's? "
] |
{
"text": [
"single mandolins"
],
"answer_start": [
201
]
}
|
gem-squad_v2-train-104481
|
5728b741ff5b5019007da549
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
Who was considered the father of Bluegrass music?
|
Who was considered the father of Bluegrass music?
|
[
"Who was considered the father of Bluegrass music?"
] |
{
"text": [
"Bill Monroe"
],
"answer_start": [
545
]
}
|
gem-squad_v2-train-104482
|
5728b741ff5b5019007da54a
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
What was Bill Monroe's group called?
|
What was Bill Monroe's group called?
|
[
"What was Bill Monroe's group called? "
] |
{
"text": [
"Blue Grass Boys"
],
"answer_start": [
697
]
}
|
gem-squad_v2-train-104483
|
5ad235c9d7d075001a4287ea
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
What family recorded an new-time music in 1924-1926?
|
What family recorded an new-time music in 1924-1926?
|
[
" What family recorded an new-time music in 1924-1926?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104484
|
5ad235c9d7d075001a4287eb
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
Who was the earliest known northern music artist?
|
Who was the earliest known northern music artist?
|
[
" Who was the earliest known northern music artist?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104485
|
5ad235c9d7d075001a4287ec
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
What type of mandolin was becoming popular by 1935's?
|
What type of mandolin was becoming popular by 1935's?
|
[
" What type of mandolin was becoming popular by 1935's?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104486
|
5ad235c9d7d075001a4287ed
|
Mandolin
|
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders.
|
Who was considered the mother of Bluegrass music?
|
Who was considered the mother of Bluegrass music?
|
[
" Who was considered the mother of Bluegrass music?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104487
|
5728b7b9ff5b5019007da550
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
What chording sound was Monroe popular for?
|
What chording sound was Monroe popular for?
|
[
"What chording sound was Monroe popular for?"
] |
{
"text": [
"the chop"
],
"answer_start": [
126
]
}
|
gem-squad_v2-train-104488
|
5728b7b9ff5b5019007da551
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
What keys was Monroe popular for?
|
What keys was Monroe popular for?
|
[
"What keys was Monroe popular for? "
] |
{
"text": [
"B and E"
],
"answer_start": [
333
]
}
|
gem-squad_v2-train-104489
|
5728b7b9ff5b5019007da552
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
Who was Monroe's most influential follower?
|
Who was Monroe's most influential follower?
|
[
"Who was Monroe's most influential follower?"
] |
{
"text": [
"Frank Wakefield"
],
"answer_start": [
493
]
}
|
gem-squad_v2-train-104490
|
5728b7b9ff5b5019007da553
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
Who developed a electric five-string mandolin?
|
Who developed a electric five-string mandolin?
|
[
"Who developed a electric five-string mandolin?"
] |
{
"text": [
"Moore of the Texas Playboys"
],
"answer_start": [
614
]
}
|
gem-squad_v2-train-104491
|
5728b7b9ff5b5019007da554
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
What type of music did the electric five-string mandolin help popularize?
|
What type of music did the electric five-string mandolin help popularize?
|
[
"What type of music did the electric five-string mandolin help popularize?"
] |
{
"text": [
"Western Swing music"
],
"answer_start": [
725
]
}
|
gem-squad_v2-train-104492
|
5ad23605d7d075001a4287f2
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
What chording feeling was Monroe popular for?
|
What chording feeling was Monroe popular for?
|
[
"What chording feeling was Monroe popular for?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104493
|
5ad23605d7d075001a4287f3
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
What keys was Monroe unpopular for?
|
What keys was Monroe unpopular for?
|
[
" What keys was Monroe unpopular for?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104494
|
5ad23605d7d075001a4287f4
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
Who was Monroe's least influential follower?
|
Who was Monroe's least influential follower?
|
[
" Who was Monroe's least influential follower?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104495
|
5ad23605d7d075001a4287f5
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
Who developed a electric six-string mandolin?
|
Who developed a electric six-string mandolin?
|
[
" Who developed a electric six-string mandolin?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104496
|
5ad23605d7d075001a4287f6
|
Mandolin
|
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music.
|
What type of music did the electric six-string mandolin help popularize?
|
What type of music did the electric six-string mandolin help popularize?
|
[
" What type of music did the electric six-string mandolin help popularize?"
] |
{
"text": [],
"answer_start": []
}
|
gem-squad_v2-train-104497
|
5728b835ff5b5019007da562
|
Mandolin
|
Other major bluegrass mandolinists who emerged in the early 1950s and are still active include Jesse McReynolds (of Jim and Jesse) who invented a syncopated banjo-roll-like style called crosspicking—and Bobby Osborne of the Osborne Brothers, who is a master of clarity and sparkling single-note runs. Highly respected and influential modern bluegrass players include Herschel Sizemore, Doyle Lawson, and the multi-genre Sam Bush, who is equally at home with old-time fiddle tunes, rock, reggae, and jazz. Ronnie McCoury of the Del McCoury Band has won numerous awards for his Monroe-influenced playing. The late John Duffey of the original Country Gentlemen and later the Seldom Scene did much to popularize the bluegrass mandolin among folk and urban audiences, especially on the east coast and in the Washington, D.C. area.
|
Who was the major bluegrass mandolinist that became popular in 1950's?
|
Who was the major bluegrass mandolinist that became popular in 1950's?
|
[
"Who was the major bluegrass mandolinist that became popular in 1950's?"
] |
{
"text": [
"Jesse McReynolds"
],
"answer_start": [
95
]
}
|
gem-squad_v2-train-104498
|
5728b835ff5b5019007da563
|
Mandolin
|
Other major bluegrass mandolinists who emerged in the early 1950s and are still active include Jesse McReynolds (of Jim and Jesse) who invented a syncopated banjo-roll-like style called crosspicking—and Bobby Osborne of the Osborne Brothers, who is a master of clarity and sparkling single-note runs. Highly respected and influential modern bluegrass players include Herschel Sizemore, Doyle Lawson, and the multi-genre Sam Bush, who is equally at home with old-time fiddle tunes, rock, reggae, and jazz. Ronnie McCoury of the Del McCoury Band has won numerous awards for his Monroe-influenced playing. The late John Duffey of the original Country Gentlemen and later the Seldom Scene did much to popularize the bluegrass mandolin among folk and urban audiences, especially on the east coast and in the Washington, D.C. area.
|
What grop was Jesse McReynolds a part of?
|
What grop was Jesse McReynolds a part of?
|
[
"What grop was Jesse McReynolds a part of?"
] |
{
"text": [
"Jim and Jesse"
],
"answer_start": [
116
]
}
|
gem-squad_v2-train-104499
|
5728b835ff5b5019007da564
|
Mandolin
|
Other major bluegrass mandolinists who emerged in the early 1950s and are still active include Jesse McReynolds (of Jim and Jesse) who invented a syncopated banjo-roll-like style called crosspicking—and Bobby Osborne of the Osborne Brothers, who is a master of clarity and sparkling single-note runs. Highly respected and influential modern bluegrass players include Herschel Sizemore, Doyle Lawson, and the multi-genre Sam Bush, who is equally at home with old-time fiddle tunes, rock, reggae, and jazz. Ronnie McCoury of the Del McCoury Band has won numerous awards for his Monroe-influenced playing. The late John Duffey of the original Country Gentlemen and later the Seldom Scene did much to popularize the bluegrass mandolin among folk and urban audiences, especially on the east coast and in the Washington, D.C. area.
|
What technique did Jesse McReynolds create?
|
What technique did Jesse McReynolds create?
|
[
"What technique did Jesse McReynolds create?"
] |
{
"text": [
"crosspicking"
],
"answer_start": [
186
]
}
|
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