id stringlengths 6 8 | piece_number int64 1 24 | composer stringclasses 13
values | title stringclasses 25
values | question stringlengths 24 534 | modality stringclasses 4
values | submodality stringclasses 3
values | horizon stringclasses 4
values | answer_object_type stringclasses 13
values | answer_format stringclasses 56
values | answer_quantity stringclasses 6
values | answer_example stringlengths 2 92 | answers stringlengths 5 1.97k | abc stringclasses 24
values | midi stringclasses 24
values | abc_midi stringclasses 24
values | audio stringclasses 22
values | pdf stringclasses 24
values | image stringclasses 24
values |
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musp_1 | 1 | Bach | Fugue BWV 875 | The performer plays bars 1-2 with different articulation: sometimes legato, sometimes staccato. Which eighth notes are played staccato? | SP | null | Short | Pitch | Pitch with octave number | List ordered by appearance | ["A2, C#3, Eb4"] | ["A4, E4, A4"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_2 | 1 | Bach | Fugue BWV 875 | From bar 23 onwards, on which beat of which bar does the performance launch into its final élan that goes on until the end? | SP | null | Mid | Bar / beat | Bar and beat | Single | ["bar 18 beat 3"] | ["bar 25 beat 1"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_3 | 2 | Bach | Prelude BWV 848 | In measures 77-78, the performer audibly elongates a note in the right hand beyond the written duration. Which note is elongated in which bar? | SP | null | Short | Composite answer | Pitch, "in bar", bar number | Single | ["A#3 in bar 77"] | ["B5 in bar 77"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_4 | 2 | Bach | Prelude BWV 848 | Which right-hand note in the first bar is played the softest, and what is its position in the sequence of right-hand notes? | SP | null | Short | Composite answer | Pitch with octave number, position in bar | Single | ["A3, 2"] | ["C#5, 4"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_5 | 2 | Bach | Prelude BWV 848 | Which note is accentuated the most in bars 97-98? | SP | null | Short | Pitch | Pitch with octave number | Single | ["A#2", "Bb3"] | ["D#3"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_6 | 2 | Bach | Prelude BWV 848 | In bars 35-36, and again in bars 37-38, the performer consistently emphasizes a note in the left hand. If the beat is given by the eighth notes, in which bars and on which beat are these accentuated notes played within those bars? | SP | null | Mid | Bar / beat | Bar and beat | List ordered by appearance | ["bar 35 beat 1, bar 35 beat 2"] | ["bar 35 beat 3, bar 37 beat 3", "bar 35 beat 3, bar 36 beat 1, bar 37 beat 3, bar 38 beat 1"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_7 | 2 | Bach | Prelude BWV 848 | Starting in bar 87, the music builds tension in anticipation of the cadence. At what time would a G#4 be expected as the logical completion of the melodic line, continuing the same melodic flow and pulse established and emphasized by the performer from bar 87 onward? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:37"] | ["1:01"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_8 | 2 | Bach | Prelude BWV 848 | From which measure onwards does the performer most suddenly significantly slow down the tempo compared to the beginning? | SP | null | Long | Bar / beat | Bar number (digits) | Single | ["50"] | ["103"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_9 | 3 | Balakirev | Islamey | The phrasing in bars 143-144 is built up toward which note? In other words, where is the loudest point within that phrase? | SP | null | Short | Pitch | Pitch class without octave number | Single | ["A", "G#", "Bb"] | ["D"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_10 | 3 | Balakirev | Islamey | The lowest D in measure 92 is sustained. Which melodic note is played when this bass note is lifted? | SP | null | Mid | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["D4"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_11 | 3 | Balakirev | Islamey | Which three notes of the main melody in bars 100-105 does the performer play staccato? | SP | null | Mid | Composite answer | Pitch, "in bar", bar number | List ordered by appearance | ["F#1 in bar 100, A2 in bar 101, A4 in bar 102"] | ["C#4 in bar 103, B3 in bar 103, A3 in bar 103"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_12 | 3 | Balakirev | Islamey | The first part of the piece concludes at 2:04. Up until there, the bars 1-2 of the piece were varied many times. How many times in total were these two bars played or varied? Count any occurrence in which the variation spans the full two bar passage and the melody remains essentially the same. | SP | null | Long | Integer | Positive integer | Single | ["4"] | ["10"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_13 | 4 | Beethoven | Piano Sonata 23, movement 1 | At what time does the development, around the time when the main theme is played shortly in E minor, start? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["02:29", "2:27", "02:33"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_14 | 4 | Beethoven | Piano Sonata 23, movement 1 | In the piece’s coda, the performer plays a cadenza-like passage of arpeggiated chords and grand gestures. Within this passage, in which bar does the performer briefly draw back in intensity and force before returning to the arpeggiated texture with at least equal strength immediately afterward? | SP | null | Long | Bar / beat | Bar number (digits) | Single | ["4"] | ["222", "224"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_15 | 4 | Beethoven | Piano Sonata 23, movement 1 | Consider the secondary theme to consist of two parts. The second part starts like the first part but has a different ending. During the first time the secondary melody is played, when exactly does this sudden change in melodic trajectory take place? When does an unexpected note break the similarity with the first phras... | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["01:39"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_16 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | In the re-exposition, after the theme recurs in diminution, the piece briefly modulates to A major. The A major passage concludes with a half cadence at what time? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["07:34", "07:33"] | inputs/abc/piece-05.abc | inputs/midi_performance_event_text/piece-05.txt | inputs/abc_plus_midi/piece-05.abc | inputs/audio/piece-05.wav | inputs/pdf/without_context/piece-05.pdf | ["inputs/images/piece-05/page-01.png", "inputs/images/piece-05/page-02.png", "inputs/images/piece-05/page-03.png", "inputs/images/piece-05/page-04.png", "inputs/images/piece-05/page-05.png", "inputs/images/piece-05/page-06.png", "inputs/images/piece-05/page-07.png", "inputs/images/piece-05/page-08.png", "inputs/images/... |
musp_17 | 20 | Beethoven | Symphony No. 2, movement 3 | At what time do the two forte-piano signs occur in the recording? | SP | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Pair | ["00:37, 02:14"] | ["00:14, 00:17"] | inputs/abc/piece-20.abc | inputs/midi_performance_event_text/piece-20.txt | inputs/abc_plus_midi/piece-20.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-20.pdf | ["inputs/images/piece-20/page-1.png", "inputs/images/piece-20/page-2.png", "inputs/images/piece-20/page-3.png"] |
musp_18 | 21 | Beethoven | Symphony No. 4, movement 2 | At what time do both horn parts begin playing? | SP | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:37", "02:14", "11:05"] | ["00:14"] | inputs/abc/piece-21.abc | inputs/midi_performance_event_text/piece-21.txt | inputs/abc_plus_midi/piece-21.abc | inputs/audio/piece-21.wav | inputs/pdf/without_context/piece-21.pdf | ["inputs/images/piece-21/page-1.png", "inputs/images/piece-21/page-2.png"] |
musp_19 | 21 | Beethoven | Symphony No. 4, movement 2 | As the long diatonically descending melodic line passes between different instruments, which note does the orchestra lean into most strongly through rubato? | SP | null | Long | Composite answer | Pitch, "in bar", bar number | Single | ["A4 in bar 4"] | ["G5 in bar 99", "F4 in bar 100"] | inputs/abc/piece-21.abc | inputs/midi_performance_event_text/piece-21.txt | inputs/abc_plus_midi/piece-21.abc | inputs/audio/piece-21.wav | inputs/pdf/without_context/piece-21.pdf | ["inputs/images/piece-21/page-1.png", "inputs/images/piece-21/page-2.png"] |
musp_20 | 21 | Beethoven | Symphony No. 4, movement 2 | The performance does not follow the indicated tempo. What BPM best matches the performance? Round your answer to the nearest 10 BPM. | SP | null | Long | Integer | Positive integer | Single | ["100"] | ["30"] | inputs/abc/piece-21.abc | inputs/midi_performance_event_text/piece-21.txt | inputs/abc_plus_midi/piece-21.abc | inputs/audio/piece-21.wav | inputs/pdf/without_context/piece-21.pdf | ["inputs/images/piece-21/page-1.png", "inputs/images/piece-21/page-2.png"] |
musp_21 | 24 | Beethoven | Symphony No. 9, movement 1 | Which instruments carry or take part in carrying the main melody from 00:01 until the melody plays the leading tone to the passage's tonality?
Mention the instruments in the same wording as in the score. | SP | null | Long | Short text | Instrument name | List ordered alphabetically | ["Piano, saxophone"] | ["Bassoon, cello, clarinet, flute, viola, violin", "Bassoon, clarinet, flute, violin"] | inputs/abc/piece-24.abc | inputs/midi_performance_event_text/piece-24.txt | inputs/abc_plus_midi/piece-24.abc | inputs/audio/piece-24.wav | inputs/pdf/without_context/piece-24.pdf | ["inputs/images/piece-24/page-1.png", "inputs/images/piece-24/page-2.png"] |
musp_22 | 6 | Chopin | Ballade No. 1 | Which note of the main melody is played with the most rubato in bars 73-74? | SP | null | Short | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Ab5"] | inputs/abc/piece-06.abc | inputs/midi_performance_event_text/piece-06.txt | inputs/abc_plus_midi/piece-06.abc | inputs/audio/piece-06.wav | inputs/pdf/without_context/piece-06.pdf | ["inputs/images/piece-06/page-01.png", "inputs/images/piece-06/page-02.png", "inputs/images/piece-06/page-03.png", "inputs/images/piece-06/page-04.png", "inputs/images/piece-06/page-05.png", "inputs/images/piece-06/page-06.png", "inputs/images/piece-06/page-07.png", "inputs/images/piece-06/page-08.png", "inputs/images/... |
musp_23 | 6 | Chopin | Ballade No. 1 | The performer plays the first thought (the music fragment before the first global silence) with a lot of rubato. Describe the contour of the acceleration/deceleration: if the performer first slows down and then accelerates, write 'slower, faster'. | SP | null | Mid | Category label | Given label written in full | List ordered by appearance | ["slower, faster"] | ["faster, slower, faster, slower"] | inputs/abc/piece-06.abc | inputs/midi_performance_event_text/piece-06.txt | inputs/abc_plus_midi/piece-06.abc | inputs/audio/piece-06.wav | inputs/pdf/without_context/piece-06.pdf | ["inputs/images/piece-06/page-01.png", "inputs/images/piece-06/page-02.png", "inputs/images/piece-06/page-03.png", "inputs/images/piece-06/page-04.png", "inputs/images/piece-06/page-05.png", "inputs/images/piece-06/page-06.png", "inputs/images/piece-06/page-07.png", "inputs/images/piece-06/page-08.png", "inputs/images/... |
musp_24 | 6 | Chopin | Ballade No. 1 | Consider the theme starting at 2:51. In which bar does the performer reach the subverted, silent climax of this theme, characterized by a significant slow-down in tempo and loudness? | SP | null | Long | Bar / beat | Bar number (digits) | Single | ["4"] | ["80"] | inputs/abc/piece-06.abc | inputs/midi_performance_event_text/piece-06.txt | inputs/abc_plus_midi/piece-06.abc | inputs/audio/piece-06.wav | inputs/pdf/without_context/piece-06.pdf | ["inputs/images/piece-06/page-01.png", "inputs/images/piece-06/page-02.png", "inputs/images/piece-06/page-03.png", "inputs/images/piece-06/page-04.png", "inputs/images/piece-06/page-05.png", "inputs/images/piece-06/page-06.png", "inputs/images/piece-06/page-07.png", "inputs/images/piece-06/page-08.png", "inputs/images/... |
musp_25 | 6 | Chopin | Ballade No. 1 | When the piano plays the melody 'F, G, G, Eb, Eb, D, C, D, D, Bb' a little after 03:00, the piece continues to modulate. To which key is the music modulating next, as evidenced by the return of one of the primary themes in the new key? | SP | null | Long | Key / tonality | Key (pitch class and mode) | Single | ["C# minor", "D Dorian", "Bb Mixolydian"] | ["A minor"] | inputs/abc/piece-06.abc | inputs/midi_performance_event_text/piece-06.txt | inputs/abc_plus_midi/piece-06.abc | inputs/audio/piece-06.wav | inputs/pdf/without_context/piece-06.pdf | ["inputs/images/piece-06/page-01.png", "inputs/images/piece-06/page-02.png", "inputs/images/piece-06/page-03.png", "inputs/images/piece-06/page-04.png", "inputs/images/piece-06/page-05.png", "inputs/images/piece-06/page-06.png", "inputs/images/piece-06/page-07.png", "inputs/images/piece-06/page-08.png", "inputs/images/... |
musp_26 | 7 | Chopin | Etude Op. 10 No. 4 | In measures 71-72 and again in measures 73-74, the performer emphasizes a specific note/chord in the left hand. Which one stands out most? Provide the pitch value of that note, or if it's a chord, the notes within that chord. | SP | null | Mid | Pitch | Pitch with octave number | List | ["A4, G#3, Bb2"] | ["A#2, A#3", "A#3, A#2"] | inputs/abc/piece-07.abc | inputs/midi_performance_event_text/piece-07.txt | inputs/abc_plus_midi/piece-07.abc | inputs/audio/piece-07.wav | inputs/pdf/without_context/piece-07.pdf | ["inputs/images/piece-07/page-1.png", "inputs/images/piece-07/page-2.png", "inputs/images/piece-07/page-3.png", "inputs/images/piece-07/page-4.png", "inputs/images/piece-07/page-5.png", "inputs/images/piece-07/page-6.png", "inputs/images/piece-07/page-7.png", "inputs/images/piece-07/page-8.png"] |
musp_27 | 7 | Chopin | Etude Op. 10 No. 4 | In bar 62, on which left-hand chord pitches is the pedal that contains the first D natural lifted? | SP | null | Mid | Pitch | Pitch with octave number | List ordered alphabetically | ["A4, G#3, Bb2"] | ["F#2, F#3"] | inputs/abc/piece-07.abc | inputs/midi_performance_event_text/piece-07.txt | inputs/abc_plus_midi/piece-07.abc | inputs/audio/piece-07.wav | inputs/pdf/without_context/piece-07.pdf | ["inputs/images/piece-07/page-1.png", "inputs/images/piece-07/page-2.png", "inputs/images/piece-07/page-3.png", "inputs/images/piece-07/page-4.png", "inputs/images/piece-07/page-5.png", "inputs/images/piece-07/page-6.png", "inputs/images/piece-07/page-7.png", "inputs/images/piece-07/page-8.png"] |
musp_28 | 7 | Chopin | Etude Op. 10 No. 4 | Which right-hand sixteenth note in measures 75-79 is the most accentuated by the performer? | SP | null | Mid | Pitch | Pitch with octave number | Single | ["Bb2", "C#3", "A4"] | ["G#5"] | inputs/abc/piece-07.abc | inputs/midi_performance_event_text/piece-07.txt | inputs/abc_plus_midi/piece-07.abc | inputs/audio/piece-07.wav | inputs/pdf/without_context/piece-07.pdf | ["inputs/images/piece-07/page-1.png", "inputs/images/piece-07/page-2.png", "inputs/images/piece-07/page-3.png", "inputs/images/piece-07/page-4.png", "inputs/images/piece-07/page-5.png", "inputs/images/piece-07/page-6.png", "inputs/images/piece-07/page-7.png", "inputs/images/piece-07/page-8.png"] |
musp_29 | 7 | Chopin | Etude Op. 10 No. 4 | The performer takes freedom with respect to the tempo at the end of the piece. Which note or chord is delayed the longest? Answer with the pitch of the note, or the highest sounding voice if it's a chord. | SP | null | Mid | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["C#4"] | inputs/abc/piece-07.abc | inputs/midi_performance_event_text/piece-07.txt | inputs/abc_plus_midi/piece-07.abc | inputs/audio/piece-07.wav | inputs/pdf/without_context/piece-07.pdf | ["inputs/images/piece-07/page-1.png", "inputs/images/piece-07/page-2.png", "inputs/images/piece-07/page-3.png", "inputs/images/piece-07/page-4.png", "inputs/images/piece-07/page-5.png", "inputs/images/piece-07/page-6.png", "inputs/images/piece-07/page-7.png", "inputs/images/piece-07/page-8.png"] |
musp_30 | 7 | Chopin | Etude Op. 10 No. 4 | The performer uses the sostenuto pedal sparingly. Starting in bar 1, up until the first beat of bar 4 (inclusive), on which 3 beats in which bars does the performer most use the pedal to broaden the sound? Consider the bars to contain 4 beats each. | SP | null | Mid | Bar / beat | Bar and beat | List ordered by appearance | ["bar 1 beat 2, bar 3 beat 2, bar 3 beat 3"] | ["bar 1 beat 1, bar 3 beat 4, bar 4 beat 1"] | inputs/abc/piece-07.abc | inputs/midi_performance_event_text/piece-07.txt | inputs/abc_plus_midi/piece-07.abc | inputs/audio/piece-07.wav | inputs/pdf/without_context/piece-07.pdf | ["inputs/images/piece-07/page-1.png", "inputs/images/piece-07/page-2.png", "inputs/images/piece-07/page-3.png", "inputs/images/piece-07/page-4.png", "inputs/images/piece-07/page-5.png", "inputs/images/piece-07/page-6.png", "inputs/images/piece-07/page-7.png", "inputs/images/piece-07/page-8.png"] |
musp_31 | 7 | Chopin | Etude Op. 10 No. 4 | In bars 41-44, the performer emphasizes a few notes, creating a melodic line stand out amidst the rapid flow of sixteenth notes. Which are these notes? | SP | null | Mid | Pitch | Pitch class without octave number | List ordered by appearance | ["A, G#, Bb, Abb, F"] | ["Fx, Gx, B, B#, C#", "F##, G##, B, B#, C#", "Fx, Gx, G#, B#, C#", "F##, G##, G#, B#, C#"] | inputs/abc/piece-07.abc | inputs/midi_performance_event_text/piece-07.txt | inputs/abc_plus_midi/piece-07.abc | inputs/audio/piece-07.wav | inputs/pdf/without_context/piece-07.pdf | ["inputs/images/piece-07/page-1.png", "inputs/images/piece-07/page-2.png", "inputs/images/piece-07/page-3.png", "inputs/images/piece-07/page-4.png", "inputs/images/piece-07/page-5.png", "inputs/images/piece-07/page-6.png", "inputs/images/piece-07/page-7.png", "inputs/images/piece-07/page-8.png"] |
musp_32 | 8 | Debussy | Reflets dans l'eau | In bars 82 and 83, the composer writes three unison chords, each consisting of a single pitch class (Ab, F, Eb), in a descending line. In what order are the low, middle, and high notes within these chords played in the performance? If the notes are played from low to high, write 'low, middle, high'. | SP | null | Short | Category label | Given label written in full | List ordered by appearance | ["low, middle, high"] | ["middle, high, low"] | inputs/abc/piece-08.abc | inputs/midi_performance_event_text/piece-08.txt | inputs/abc_plus_midi/piece-08.abc | inputs/audio/piece-08.wav | inputs/pdf/without_context/piece-08.pdf | ["inputs/images/piece-08/page-1.png", "inputs/images/piece-08/page-2.png", "inputs/images/piece-08/page-3.png", "inputs/images/piece-08/page-4.png", "inputs/images/piece-08/page-5.png", "inputs/images/piece-08/page-6.png", "inputs/images/piece-08/page-7.png", "inputs/images/piece-08/page-8.png", "inputs/images/piece-08... |
musp_33 | 8 | Debussy | Reflets dans l'eau | The piece has different characters. At some point, the music takes on a heroic quality, perhaps creating the impression of surging waves. Which two consecutive measures are played with the most grand, epic intensity? | SP | null | Long | Bar / beat | Bar number (digits) | Pair | ["18, 42"] | ["58, 59"] | inputs/abc/piece-08.abc | inputs/midi_performance_event_text/piece-08.txt | inputs/abc_plus_midi/piece-08.abc | inputs/audio/piece-08.wav | inputs/pdf/without_context/piece-08.pdf | ["inputs/images/piece-08/page-1.png", "inputs/images/piece-08/page-2.png", "inputs/images/piece-08/page-3.png", "inputs/images/piece-08/page-4.png", "inputs/images/piece-08/page-5.png", "inputs/images/piece-08/page-6.png", "inputs/images/piece-08/page-7.png", "inputs/images/piece-08/page-8.png", "inputs/images/piece-08... |
musp_34 | 9 | Glinka | The Lark | In bar 50, the left hand makes four rapid upward jumps between an octave and a triad higher-up. The upper voices within each chord form a tiny two-note melody. However, sometimes, the second note does not come out as clearly. Which of those second notes is played the softest? Answer with the name of that softest-played... | SP | null | Short | Pitch | Pitch with octave number | Single | ["A1", "C#3", "Bb7"] | ["Bb3"] | inputs/abc/piece-09.abc | inputs/midi_performance_event_text/piece-09.txt | inputs/abc_plus_midi/piece-09.abc | inputs/audio/piece-09.wav | inputs/pdf/without_context/piece-09.pdf | ["inputs/images/piece-09/page-1.png", "inputs/images/piece-09/page-2.png", "inputs/images/piece-09/page-3.png", "inputs/images/piece-09/page-4.png", "inputs/images/piece-09/page-5.png", "inputs/images/piece-09/page-6.png", "inputs/images/piece-09/page-7.png"] |
musp_35 | 9 | Glinka | The Lark | The phrase in bars 57-60 builds toward which note? | SP | null | Mid | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["F6"] | inputs/abc/piece-09.abc | inputs/midi_performance_event_text/piece-09.txt | inputs/abc_plus_midi/piece-09.abc | inputs/audio/piece-09.wav | inputs/pdf/without_context/piece-09.pdf | ["inputs/images/piece-09/page-1.png", "inputs/images/piece-09/page-2.png", "inputs/images/piece-09/page-3.png", "inputs/images/piece-09/page-4.png", "inputs/images/piece-09/page-5.png", "inputs/images/piece-09/page-6.png", "inputs/images/piece-09/page-7.png"] |
musp_36 | 9 | Glinka | The Lark | Between 2:47 and 3:40, the five opening notes of the main melody recur several times. In which bar does the performer give the melodic Ab the greatest expressive weight, creating a moment of quiet pain through a sudden retreat and the strongest rubato contrast with the preceding melodic notes? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:32"] | ["3:30", "3:29"] | inputs/abc/piece-09.abc | inputs/midi_performance_event_text/piece-09.txt | inputs/abc_plus_midi/piece-09.abc | inputs/audio/piece-09.wav | inputs/pdf/without_context/piece-09.pdf | ["inputs/images/piece-09/page-1.png", "inputs/images/piece-09/page-2.png", "inputs/images/piece-09/page-3.png", "inputs/images/piece-09/page-4.png", "inputs/images/piece-09/page-5.png", "inputs/images/piece-09/page-6.png", "inputs/images/piece-09/page-7.png"] |
musp_37 | 9 | Glinka | The Lark | The composer concludes the piece with right-hand motives first presented in the introduction. At what time was this material first played? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["22:21"] | ["00:12", "00:13"] | inputs/abc/piece-09.abc | inputs/midi_performance_event_text/piece-09.txt | inputs/abc_plus_midi/piece-09.abc | inputs/audio/piece-09.wav | inputs/pdf/without_context/piece-09.pdf | ["inputs/images/piece-09/page-1.png", "inputs/images/piece-09/page-2.png", "inputs/images/piece-09/page-3.png", "inputs/images/piece-09/page-4.png", "inputs/images/piece-09/page-5.png", "inputs/images/piece-09/page-6.png", "inputs/images/piece-09/page-7.png"] |
musp_38 | 10 | Haydn | Keyboard Sonata 48, movement 2 | Approximately how long, in seconds, does the final passage marked piano last? Round down. | SP | null | Short | Duration / ratio | Integer | Single | ["10"] | ["5", "6"] | inputs/abc/piece-10.abc | inputs/midi_performance_event_text/piece-10.txt | inputs/abc_plus_midi/piece-10.abc | inputs/audio/piece-10.wav | inputs/pdf/without_context/piece-10.pdf | ["inputs/images/piece-10/page-1.png", "inputs/images/piece-10/page-2.png", "inputs/images/piece-10/page-3.png", "inputs/images/piece-10/page-4.png", "inputs/images/piece-10/page-5.png", "inputs/images/piece-10/page-6.png", "inputs/images/piece-10/page-7.png", "inputs/images/piece-10/page-8.png"] |
musp_39 | 10 | Haydn | Keyboard Sonata 48, movement 2 | Purely rhythmically speaking, the motif in the right hand in bar 38 is played equivalently to which sequence of note values? | SP | null | Short | Duration / ratio | Count followed by note value | List ordered by appearance | ["4 quarter notes, 6 eighth notes"] | ["8 sixteenth notes"] | inputs/abc/piece-10.abc | inputs/midi_performance_event_text/piece-10.txt | inputs/abc_plus_midi/piece-10.abc | inputs/audio/piece-10.wav | inputs/pdf/without_context/piece-10.pdf | ["inputs/images/piece-10/page-1.png", "inputs/images/piece-10/page-2.png", "inputs/images/piece-10/page-3.png", "inputs/images/piece-10/page-4.png", "inputs/images/piece-10/page-5.png", "inputs/images/piece-10/page-6.png", "inputs/images/piece-10/page-7.png", "inputs/images/piece-10/page-8.png"] |
musp_40 | 10 | Haydn | Keyboard Sonata 48, movement 2 | The repeat sign in measure 33, to what measure does it go back to, and does the performer actually go back? | SP | null | Mid | Composite answer | Bar number, yes-or-no | Single | ["1, yes"] | ["14, yes"] | inputs/abc/piece-10.abc | inputs/midi_performance_event_text/piece-10.txt | inputs/abc_plus_midi/piece-10.abc | inputs/audio/piece-10.wav | inputs/pdf/without_context/piece-10.pdf | ["inputs/images/piece-10/page-1.png", "inputs/images/piece-10/page-2.png", "inputs/images/piece-10/page-3.png", "inputs/images/piece-10/page-4.png", "inputs/images/piece-10/page-5.png", "inputs/images/piece-10/page-6.png", "inputs/images/piece-10/page-7.png", "inputs/images/piece-10/page-8.png"] |
musp_41 | 10 | Haydn | Keyboard Sonata 48, movement 2 | In measures 225-228, the performer plays six upper-voice notes very staccato: which ones? | SP | null | Mid | Pitch | Pitch with octave number | List ordered by appearance | ["F1, A4, G#3, Bb2"] | ["D5, G4, E5, C5, E5, E5"] | inputs/abc/piece-10.abc | inputs/midi_performance_event_text/piece-10.txt | inputs/abc_plus_midi/piece-10.abc | inputs/audio/piece-10.wav | inputs/pdf/without_context/piece-10.pdf | ["inputs/images/piece-10/page-1.png", "inputs/images/piece-10/page-2.png", "inputs/images/piece-10/page-3.png", "inputs/images/piece-10/page-4.png", "inputs/images/piece-10/page-5.png", "inputs/images/piece-10/page-6.png", "inputs/images/piece-10/page-7.png", "inputs/images/piece-10/page-8.png"] |
musp_42 | 10 | Haydn | Keyboard Sonata 48, movement 2 | Before the final reprise of the main theme, the composer creates suspense with an ascending line of thirds. At what time is the last third creating this tension played? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["3:19"] | inputs/abc/piece-10.abc | inputs/midi_performance_event_text/piece-10.txt | inputs/abc_plus_midi/piece-10.abc | inputs/audio/piece-10.wav | inputs/pdf/without_context/piece-10.pdf | ["inputs/images/piece-10/page-1.png", "inputs/images/piece-10/page-2.png", "inputs/images/piece-10/page-3.png", "inputs/images/piece-10/page-4.png", "inputs/images/piece-10/page-5.png", "inputs/images/piece-10/page-6.png", "inputs/images/piece-10/page-7.png", "inputs/images/piece-10/page-8.png"] |
musp_43 | 11 | Liszt | Ballade No. 2 | The performer plays the notes in overall descending line starting in bar 230 until the fermata relatively equally, except for a few notes. Which note of that line is played the softest? Identify it by its bar and beat number. | SP | null | Mid | Bar / beat | Bar and beat | List ordered by appearance | ["bar 99 beat 1.25, bar 100 beat 4"] | ["Bar 233 beat 1"] | inputs/abc/piece-11.abc | inputs/midi_performance_event_text/piece-11.txt | inputs/abc_plus_midi/piece-11.abc | inputs/audio/piece-11.wav | inputs/pdf/without_context/piece-11.pdf | ["inputs/images/piece-11/page-01.png", "inputs/images/piece-11/page-02.png", "inputs/images/piece-11/page-03.png", "inputs/images/piece-11/page-04.png", "inputs/images/piece-11/page-05.png", "inputs/images/piece-11/page-06.png", "inputs/images/piece-11/page-07.png", "inputs/images/piece-11/page-08.png", "inputs/images/... |
musp_44 | 11 | Liszt | Ballade No. 2 | What is the main difference in how the two phrases (2:22-2:29 and 2:29-2:36) are performed, aside from their pitches and the F major chord on which they arrive? Answer with the musical term that best describes this change. | SP | null | Mid | Short text | Literal text | Single | ["con fuoco"] | ["una corda"] | inputs/abc/piece-11.abc | inputs/midi_performance_event_text/piece-11.txt | inputs/abc_plus_midi/piece-11.abc | inputs/audio/piece-11.wav | inputs/pdf/without_context/piece-11.pdf | ["inputs/images/piece-11/page-01.png", "inputs/images/piece-11/page-02.png", "inputs/images/piece-11/page-03.png", "inputs/images/piece-11/page-04.png", "inputs/images/piece-11/page-05.png", "inputs/images/piece-11/page-06.png", "inputs/images/piece-11/page-07.png", "inputs/images/piece-11/page-08.png", "inputs/images/... |
musp_45 | 12 | Mozart | Piano Sonata 12, movement 1 | Which right-hand note is most emphasized in bar 212? | SP | null | Short | Pitch | Pitch with octave number | Single | ["A4"] | ["G5"] | inputs/abc/piece-12.abc | inputs/midi_performance_event_text/piece-12.txt | inputs/abc_plus_midi/piece-12.abc | inputs/audio/piece-12.wav | inputs/pdf/without_context/piece-12.pdf | ["inputs/images/piece-12/page-1.png", "inputs/images/piece-12/page-2.png", "inputs/images/piece-12/page-3.png", "inputs/images/piece-12/page-4.png", "inputs/images/piece-12/page-5.png", "inputs/images/piece-12/page-6.png", "inputs/images/piece-12/page-7.png"] |
musp_46 | 12 | Mozart | Piano Sonata 12, movement 1 | Which of the three two-bar phrases, bars 31–32, 33–34, or 35–36, is played with the greatest force? Answer with the left-hand note that coincides with that phrase's highest note. | SP | null | Mid | Pitch | Pitch class without octave number | Single | ["A", "G#", "Bb"] | ["Eb"] | inputs/abc/piece-12.abc | inputs/midi_performance_event_text/piece-12.txt | inputs/abc_plus_midi/piece-12.abc | inputs/audio/piece-12.wav | inputs/pdf/without_context/piece-12.pdf | ["inputs/images/piece-12/page-1.png", "inputs/images/piece-12/page-2.png", "inputs/images/piece-12/page-3.png", "inputs/images/piece-12/page-4.png", "inputs/images/piece-12/page-5.png", "inputs/images/piece-12/page-6.png", "inputs/images/piece-12/page-7.png"] |
musp_47 | 12 | Mozart | Piano Sonata 12, movement 1 | At what time does the development section start? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["01:58", "01:59"] | inputs/abc/piece-12.abc | inputs/midi_performance_event_text/piece-12.txt | inputs/abc_plus_midi/piece-12.abc | inputs/audio/piece-12.wav | inputs/pdf/without_context/piece-12.pdf | ["inputs/images/piece-12/page-1.png", "inputs/images/piece-12/page-2.png", "inputs/images/piece-12/page-3.png", "inputs/images/piece-12/page-4.png", "inputs/images/piece-12/page-5.png", "inputs/images/piece-12/page-6.png", "inputs/images/piece-12/page-7.png"] |
musp_48 | 12 | Mozart | Piano Sonata 12, movement 1 | At what time does the recapitulation first diverge from the exposition in terms of pitch or rhythm? | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["3:30"] | ["3:28"] | inputs/abc/piece-12.abc | inputs/midi_performance_event_text/piece-12.txt | inputs/abc_plus_midi/piece-12.abc | inputs/audio/piece-12.wav | inputs/pdf/without_context/piece-12.pdf | ["inputs/images/piece-12/page-1.png", "inputs/images/piece-12/page-2.png", "inputs/images/piece-12/page-3.png", "inputs/images/piece-12/page-4.png", "inputs/images/piece-12/page-5.png", "inputs/images/piece-12/page-6.png", "inputs/images/piece-12/page-7.png"] |
musp_49 | 13 | Mozart | Piano Sonata 12, movement 3 | What performance instruction is written below the longer notes in 02:56-02:57? | SP | null | Short | Category label | Dynamic marking or term written in full | Single | ["mezzo-piano"] | ["Sforzando"] | inputs/abc/piece-13.abc | inputs/midi_performance_event_text/piece-13.txt | inputs/abc_plus_midi/piece-13.abc | inputs/audio/piece-13.wav | inputs/pdf/without_context/piece-13.pdf | ["inputs/images/piece-13/page-01.png", "inputs/images/piece-13/page-02.png", "inputs/images/piece-13/page-03.png", "inputs/images/piece-13/page-04.png", "inputs/images/piece-13/page-05.png", "inputs/images/piece-13/page-06.png", "inputs/images/piece-13/page-07.png", "inputs/images/piece-13/page-08.png", "inputs/images/... |
musp_50 | 13 | Mozart | Piano Sonata 12, movement 3 | With which pitch does the ornamentation in measure 53 start? | SP | null | Short | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Eb5"] | inputs/abc/piece-13.abc | inputs/midi_performance_event_text/piece-13.txt | inputs/abc_plus_midi/piece-13.abc | inputs/audio/piece-13.wav | inputs/pdf/without_context/piece-13.pdf | ["inputs/images/piece-13/page-01.png", "inputs/images/piece-13/page-02.png", "inputs/images/piece-13/page-03.png", "inputs/images/piece-13/page-04.png", "inputs/images/piece-13/page-05.png", "inputs/images/piece-13/page-06.png", "inputs/images/piece-13/page-07.png", "inputs/images/piece-13/page-08.png", "inputs/images/... |
musp_51 | 13 | Mozart | Piano Sonata 12, movement 3 | In measure 243, a particular note in the right hand gets a strong emphasis during the performance, perhaps accidentally, slightly breaking the flow of the melody. Which note? | SP | null | Short | Pitch | Pitch class without octave number | Single | ["G#", "Bb", "Fx"] | ["A"] | inputs/abc/piece-13.abc | inputs/midi_performance_event_text/piece-13.txt | inputs/abc_plus_midi/piece-13.abc | inputs/audio/piece-13.wav | inputs/pdf/without_context/piece-13.pdf | ["inputs/images/piece-13/page-01.png", "inputs/images/piece-13/page-02.png", "inputs/images/piece-13/page-03.png", "inputs/images/piece-13/page-04.png", "inputs/images/piece-13/page-05.png", "inputs/images/piece-13/page-06.png", "inputs/images/piece-13/page-07.png", "inputs/images/piece-13/page-08.png", "inputs/images/... |
musp_52 | 13 | Mozart | Piano Sonata 12, movement 3 | If the tempo of bar 243 were maintained strictly, by how many eighth-note durations would the final chord be delayed? Round down. | SP | null | Mid | Duration / ratio | Count of eighth-note durations | Single | ["4", "7.25"] | ["3"] | inputs/abc/piece-13.abc | inputs/midi_performance_event_text/piece-13.txt | inputs/abc_plus_midi/piece-13.abc | inputs/audio/piece-13.wav | inputs/pdf/without_context/piece-13.pdf | ["inputs/images/piece-13/page-01.png", "inputs/images/piece-13/page-02.png", "inputs/images/piece-13/page-03.png", "inputs/images/piece-13/page-04.png", "inputs/images/piece-13/page-05.png", "inputs/images/piece-13/page-06.png", "inputs/images/piece-13/page-07.png", "inputs/images/piece-13/page-08.png", "inputs/images/... |
musp_53 | 13 | Mozart | Piano Sonata 12, movement 3 | In which 2 bars does the performer slow down most between bars 170 and 180? | SP | null | Mid | Bar / beat | Bar number (digits) | Pair | ["170, 180"] | ["176, 177", "175, 176"] | inputs/abc/piece-13.abc | inputs/midi_performance_event_text/piece-13.txt | inputs/abc_plus_midi/piece-13.abc | inputs/audio/piece-13.wav | inputs/pdf/without_context/piece-13.pdf | ["inputs/images/piece-13/page-01.png", "inputs/images/piece-13/page-02.png", "inputs/images/piece-13/page-03.png", "inputs/images/piece-13/page-04.png", "inputs/images/piece-13/page-05.png", "inputs/images/piece-13/page-06.png", "inputs/images/piece-13/page-07.png", "inputs/images/piece-13/page-08.png", "inputs/images/... |
musp_54 | 13 | Mozart | Piano Sonata 12, movement 3 | At what time during the exposition does an authentic cadence to the piece's relative minor tonality first occur? Provide the time of when the leading tone within that cadence is struck. | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["00:44"] | inputs/abc/piece-13.abc | inputs/midi_performance_event_text/piece-13.txt | inputs/abc_plus_midi/piece-13.abc | inputs/audio/piece-13.wav | inputs/pdf/without_context/piece-13.pdf | ["inputs/images/piece-13/page-01.png", "inputs/images/piece-13/page-02.png", "inputs/images/piece-13/page-03.png", "inputs/images/piece-13/page-04.png", "inputs/images/piece-13/page-05.png", "inputs/images/piece-13/page-06.png", "inputs/images/piece-13/page-07.png", "inputs/images/piece-13/page-08.png", "inputs/images/... |
musp_55 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | Which accentuated right-hand chord in measures 51-52 is played the longest? Answer with the name of the top note. | SP | null | Short | Pitch | Pitch class without octave number | Single | ["A", "G#", "Bb"] | ["A#"] | inputs/abc/piece-14.abc | inputs/midi_performance_event_text/piece-14.txt | inputs/abc_plus_midi/piece-14.abc | inputs/audio/piece-14.wav | inputs/pdf/without_context/piece-14.pdf | ["inputs/images/piece-14/page-1.png", "inputs/images/piece-14/page-2.png", "inputs/images/piece-14/page-3.png", "inputs/images/piece-14/page-4.png", "inputs/images/piece-14/page-5.png", "inputs/images/piece-14/page-6.png", "inputs/images/piece-14/page-7.png"] |
musp_56 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | In the first two bars, the performer uses rubato that creates the impression of two contrasting tempi, one broader and one faster. Which four notes in the first bar belong to the more broadly paced portion? | SP | null | Short | Pitch | Pitch with octave number | List ordered by appearance | ["F1, A4, G#3, Bb2"] | ["D2, F#3, A2, D4"] | inputs/abc/piece-14.abc | inputs/midi_performance_event_text/piece-14.txt | inputs/abc_plus_midi/piece-14.abc | inputs/audio/piece-14.wav | inputs/pdf/without_context/piece-14.pdf | ["inputs/images/piece-14/page-1.png", "inputs/images/piece-14/page-2.png", "inputs/images/piece-14/page-3.png", "inputs/images/piece-14/page-4.png", "inputs/images/piece-14/page-5.png", "inputs/images/piece-14/page-6.png", "inputs/images/piece-14/page-7.png"] |
musp_57 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | From bar 64 to the end of the piece, which melodic note forms the point of greatest tension within the largest and most intense crescendo in that last section? | SP | null | Mid | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["C#6"] | inputs/abc/piece-14.abc | inputs/midi_performance_event_text/piece-14.txt | inputs/abc_plus_midi/piece-14.abc | inputs/audio/piece-14.wav | inputs/pdf/without_context/piece-14.pdf | ["inputs/images/piece-14/page-1.png", "inputs/images/piece-14/page-2.png", "inputs/images/piece-14/page-3.png", "inputs/images/piece-14/page-4.png", "inputs/images/piece-14/page-5.png", "inputs/images/piece-14/page-6.png", "inputs/images/piece-14/page-7.png"] |
musp_58 | 15 | Schubert | Moment musical No. 3 | In bar 36, some notes in the melodic line are unclear or omitted in the performance. Which note played is the clearest of them all? | SP | null | Short | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Ab5"] | inputs/abc/piece-15.abc | inputs/midi_performance_event_text/piece-15.txt | inputs/abc_plus_midi/piece-15.abc | inputs/audio/piece-15.wav | inputs/pdf/without_context/piece-15.pdf | ["inputs/images/piece-15/page-1.png", "inputs/images/piece-15/page-2.png"] |
musp_59 | 15 | Schubert | Moment musical No. 3 | At some point in bar 75-78, the performer uses a rubato that significantly and unexpectedly delays the arrival of a particular beat, without a gradual slowdown preceding it. Divide each measure into four beats. In which bar and at which beat does this rubato take place? | SP | null | Mid | Bar / beat | Bar and beat | Single | ["bar 18 beat 3", "bar 42 beat 1", "bar 24 beat 2"] | ["bar 75 beat 4"] | inputs/abc/piece-15.abc | inputs/midi_performance_event_text/piece-15.txt | inputs/abc_plus_midi/piece-15.abc | inputs/audio/piece-15.wav | inputs/pdf/without_context/piece-15.pdf | ["inputs/images/piece-15/page-1.png", "inputs/images/piece-15/page-2.png"] |
musp_60 | 16 | Schumann | Arabeske Op. 18 | Bar 95 is played starting at what time? | SP | null | Short | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:37", "02:14", "11:05"] | ["2:25", "02:24"] | inputs/abc/piece-16.abc | inputs/midi_performance_event_text/piece-16.txt | inputs/abc_plus_midi/piece-16.abc | inputs/audio/piece-16.wav | inputs/pdf/without_context/piece-16.pdf | ["inputs/images/piece-16/page-01.png", "inputs/images/piece-16/page-02.png", "inputs/images/piece-16/page-03.png", "inputs/images/piece-16/page-04.png", "inputs/images/piece-16/page-05.png", "inputs/images/piece-16/page-06.png", "inputs/images/piece-16/page-07.png", "inputs/images/piece-16/page-08.png", "inputs/images/... |
musp_61 | 16 | Schumann | Arabeske Op. 18 | In bars 224–226, a melodic note stands out expressively, shifting the tonal color to a much warmer sound compared with the preceding fragment. At what timestamp does this most significant change in color occur? | SP | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["0:37"] | ["5:55", "05:55"] | inputs/abc/piece-16.abc | inputs/midi_performance_event_text/piece-16.txt | inputs/abc_plus_midi/piece-16.abc | inputs/audio/piece-16.wav | inputs/pdf/without_context/piece-16.pdf | ["inputs/images/piece-16/page-01.png", "inputs/images/piece-16/page-02.png", "inputs/images/piece-16/page-03.png", "inputs/images/piece-16/page-04.png", "inputs/images/piece-16/page-05.png", "inputs/images/piece-16/page-06.png", "inputs/images/piece-16/page-07.png", "inputs/images/piece-16/page-08.png", "inputs/images/... |
musp_62 | 16 | Schumann | Arabeske Op. 18 | Which passage has the most decisive/serious/forceful character, relative to the overall lyrical character of the piece? Indicate the first and last bar of this passage. | SP | null | Long | Bar / beat | Bar number (digits) | Pair | ["18, 42"] | ["148, 174"] | inputs/abc/piece-16.abc | inputs/midi_performance_event_text/piece-16.txt | inputs/abc_plus_midi/piece-16.abc | inputs/audio/piece-16.wav | inputs/pdf/without_context/piece-16.pdf | ["inputs/images/piece-16/page-01.png", "inputs/images/piece-16/page-02.png", "inputs/images/piece-16/page-03.png", "inputs/images/piece-16/page-04.png", "inputs/images/piece-16/page-05.png", "inputs/images/piece-16/page-06.png", "inputs/images/piece-16/page-07.png", "inputs/images/piece-16/page-08.png", "inputs/images/... |
musp_63 | 17 | Scriabin | Etude Op. 8 No. 11 | Which bar was the performer playing at 4:20? | SP | null | Short | Bar / beat | Bar number (digits) | Single | ["4"] | ["47"] | inputs/abc/piece-17.abc | inputs/midi_performance_event_text/piece-17.txt | inputs/abc_plus_midi/piece-17.abc | inputs/audio/piece-17.wav | inputs/pdf/without_context/piece-17.pdf | ["inputs/images/piece-17/page-1.png", "inputs/images/piece-17/page-2.png", "inputs/images/piece-17/page-3.png"] |
musp_64 | 17 | Scriabin | Etude Op. 8 No. 11 | In bar 8, on which beat does the performer initiate a crescendo? For example, if they do it on the second half of the fourth beat, write '4.5'. | SP | null | Short | Bar / beat | Beat number (fraction) | Single | ["3.5"] | ["2.5"] | inputs/abc/piece-17.abc | inputs/midi_performance_event_text/piece-17.txt | inputs/abc_plus_midi/piece-17.abc | inputs/audio/piece-17.wav | inputs/pdf/without_context/piece-17.pdf | ["inputs/images/piece-17/page-1.png", "inputs/images/piece-17/page-2.png", "inputs/images/piece-17/page-3.png"] |
musp_65 | 17 | Scriabin | Etude Op. 8 No. 11 | Through pronounced rubato across measures 37–38, the performer creates a sense of temporal and harmonic suspension over a single chord. Which chord is responsible for this moment where time briefly seems to stand still? | SP | null | Short | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | ["Gb", "Ebm7"] | inputs/abc/piece-17.abc | inputs/midi_performance_event_text/piece-17.txt | inputs/abc_plus_midi/piece-17.abc | inputs/audio/piece-17.wav | inputs/pdf/without_context/piece-17.pdf | ["inputs/images/piece-17/page-1.png", "inputs/images/piece-17/page-2.png", "inputs/images/piece-17/page-3.png"] |
musp_66 | 17 | Scriabin | Etude Op. 8 No. 11 | Which sixteenth note does the performer emphasize most through rubato in bar 20? | SP | null | Short | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["E4"] | inputs/abc/piece-17.abc | inputs/midi_performance_event_text/piece-17.txt | inputs/abc_plus_midi/piece-17.abc | inputs/audio/piece-17.wav | inputs/pdf/without_context/piece-17.pdf | ["inputs/images/piece-17/page-1.png", "inputs/images/piece-17/page-2.png", "inputs/images/piece-17/page-3.png"] |
musp_67 | 17 | Scriabin | Etude Op. 8 No. 11 | From 1:47 onwards, which is the last melodic note before the music fades back into an F major chord? | SP | null | Mid | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["C5"] | inputs/abc/piece-17.abc | inputs/midi_performance_event_text/piece-17.txt | inputs/abc_plus_midi/piece-17.abc | inputs/audio/piece-17.wav | inputs/pdf/without_context/piece-17.pdf | ["inputs/images/piece-17/page-1.png", "inputs/images/piece-17/page-2.png", "inputs/images/piece-17/page-3.png"] |
musp_68 | 18 | Scriabin | Piano Sonata No. 5 | The work features two complete spellings of the composer's so-called mystic chord in the 'meno vivo' passage starting at 263. At which time is the mystic chord struck for the first time? | SP | null | Short | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["6:28"] | inputs/abc/piece-18.abc | inputs/midi_performance_event_text/piece-18.txt | inputs/abc_plus_midi/piece-18.abc | inputs/audio/piece-18.wav | inputs/pdf/without_context/piece-18.pdf | ["inputs/images/piece-18/page-01.png", "inputs/images/piece-18/page-02.png", "inputs/images/piece-18/page-03.png", "inputs/images/piece-18/page-04.png", "inputs/images/piece-18/page-05.png", "inputs/images/piece-18/page-06.png", "inputs/images/piece-18/page-07.png", "inputs/images/piece-18/page-08.png", "inputs/images/... |
musp_69 | 18 | Scriabin | Piano Sonata No. 5 | Which of the upper-voice melodic notes from bar 219 until 225 is played with the most force? | SP | null | Mid | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Ab5"] | inputs/abc/piece-18.abc | inputs/midi_performance_event_text/piece-18.txt | inputs/abc_plus_midi/piece-18.abc | inputs/audio/piece-18.wav | inputs/pdf/without_context/piece-18.pdf | ["inputs/images/piece-18/page-01.png", "inputs/images/piece-18/page-02.png", "inputs/images/piece-18/page-03.png", "inputs/images/piece-18/page-04.png", "inputs/images/piece-18/page-05.png", "inputs/images/piece-18/page-06.png", "inputs/images/piece-18/page-07.png", "inputs/images/piece-18/page-08.png", "inputs/images/... |
musp_70 | 18 | Scriabin | Piano Sonata No. 5 | The passage played at 11:17-11:28 is a variation of which theme played earlier in the piece? Answer with the tempo/expression marking associated with that theme, the first time it is played. | SP | null | Long | Short text | Expressive term or phrase | Single | ["dolce"] | ["Languido"] | inputs/abc/piece-18.abc | inputs/midi_performance_event_text/piece-18.txt | inputs/abc_plus_midi/piece-18.abc | inputs/audio/piece-18.wav | inputs/pdf/without_context/piece-18.pdf | ["inputs/images/piece-18/page-01.png", "inputs/images/piece-18/page-02.png", "inputs/images/piece-18/page-03.png", "inputs/images/piece-18/page-04.png", "inputs/images/piece-18/page-05.png", "inputs/images/piece-18/page-06.png", "inputs/images/piece-18/page-07.png", "inputs/images/piece-18/page-08.png", "inputs/images/... |
musp_71 | 18 | Scriabin | Piano Sonata No. 5 | Before what bar does the performer lift the pedal (without sustaining any other notes) for the longest time in the passage between 07:57 and 8:41? I.e., when does the longest global silence take place within that period? | SP | null | Long | Bar / beat | Bar number (digits) | Single | ["4"] | ["325"] | inputs/abc/piece-18.abc | inputs/midi_performance_event_text/piece-18.txt | inputs/abc_plus_midi/piece-18.abc | inputs/audio/piece-18.wav | inputs/pdf/without_context/piece-18.pdf | ["inputs/images/piece-18/page-01.png", "inputs/images/piece-18/page-02.png", "inputs/images/piece-18/page-03.png", "inputs/images/piece-18/page-04.png", "inputs/images/piece-18/page-05.png", "inputs/images/piece-18/page-06.png", "inputs/images/piece-18/page-07.png", "inputs/images/piece-18/page-08.png", "inputs/images/... |
musp_72 | 18 | Scriabin | Piano Sonata No. 5 | At what time does the exposition start, considering there is a long introduction and the first theme consists of 6-bar phrases. | SP | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["1:23"] | inputs/abc/piece-18.abc | inputs/midi_performance_event_text/piece-18.txt | inputs/abc_plus_midi/piece-18.abc | inputs/audio/piece-18.wav | inputs/pdf/without_context/piece-18.pdf | ["inputs/images/piece-18/page-01.png", "inputs/images/piece-18/page-02.png", "inputs/images/piece-18/page-03.png", "inputs/images/piece-18/page-04.png", "inputs/images/piece-18/page-05.png", "inputs/images/piece-18/page-06.png", "inputs/images/piece-18/page-07.png", "inputs/images/piece-18/page-08.png", "inputs/images/... |
musp_73 | 1 | Bach | Fugue BWV 875 | From 00:31 to 00:35, the performer emphasizes a regularly pulsed motif whose repetition across two different voices creates a melodic line. What are the notes of this melody, beginning with the first D and ending with the last E within this fragment? List 16 notes. | P | null | Short | Pitch | Pitch class without octave number | List ordered by appearance | ["D, C#, Ab"] | ["D, Eb, D, C, Eb, D, C, B, G, A, G, F, A, G, F, E"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_74 | 1 | Bach | Fugue BWV 875 | Between 0:50 and 0:58, the melodic line 'A, Bb, A, G, Bb, A, G, F' is played three times. Rank those by increasing loudness. If the first time the melody is played, it is played the softest and the third one the loudest, answer: 1, 2, 3. | P | null | Mid | Integer | Positive integer | List ordered by increasing loudness | ["1, 2, 3"] | ["3, 2, 1"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_75 | 1 | Bach | Fugue BWV 875 | Between 1:26 and 1:39, the performer uses an unusual rubato. Which note carries the greatest expressive tension, receiving the strongest dramatic and interpretive emphasis through the rubato? | P | null | Mid | Pitch | Pitch class without octave number | Single | ["A", "G#", "Fx"] | ["Bb", "A"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_76 | 1 | Bach | Fugue BWV 875 | What is the largest interval between two consecutive notes within the theme played by the soprano voice, starting at 00:09? | P | null | Mid | Interval | Interval quality and size | Single | ["perfect fifth", "minor seventh", "perfect octave"] | ["perfect fourth"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_77 | 1 | Bach | Fugue BWV 875 | At what times does the first theme (up until the syncopated note G) appear with the exact same pitch classes but potentially in a different register? Disregard minor deviations. | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | List ordered by appearance | ["0:37, 02:14, 11:05"] | ["0:00, 0:22, 1:45"] | inputs/abc/piece-01.abc | inputs/midi_performance_event_text/piece-01.txt | inputs/abc_plus_midi/piece-01.abc | inputs/audio/piece-01.wav | inputs/pdf/without_context/piece-01.pdf | ["inputs/images/piece-01/page-1.png", "inputs/images/piece-01/page-2.png"] |
musp_78 | 2 | Bach | Prelude BWV 848 | Between 00:16 and 00:19, the performer brings out two melodic lines in two different registers. What is the highest note within the lowest of the two emphasized melodies? | P | null | Short | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["F#4"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_79 | 2 | Bach | Prelude BWV 848 | A 5-note rhythmical motif, characterized by a syncopated feel, is introduced at 0:21 in the right hand and later repeated/transposed. Until when is the motif repeated/transposed? Identify the earliest time after which the motif no longer occurs. | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["00:30"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_80 | 2 | Bach | Prelude BWV 848 | Listen to the performance and feel the pulse given by the slower-moving voice in the opening. Which BPM range best matches the tempo: 50-60, 60-70, 70-80, 80-90, 90-100, 100-110, 110-120, 120-130, 130-140, 140-150, 150-160, 160-170, 170-180, 180-190? | P | null | Long | Choice | One choice copied exactly from the question | Single | ["50-60"] | ["90-100"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_81 | 2 | Bach | Prelude BWV 848 | In what time does the prolonged dominant tension or pedal begin and then continue uninterrupted until the final cadence, without passing through another harmony or releasing its dominant function, before finally resolving? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["0:37", "02:14", "11:05"] | ["0:55"] | inputs/abc/piece-02.abc | inputs/midi_performance_event_text/piece-02.txt | inputs/abc_plus_midi/piece-02.abc | inputs/audio/piece-02.wav | inputs/pdf/without_context/piece-02.pdf | ["inputs/images/piece-02/page-1.png", "inputs/images/piece-02/page-2.png", "inputs/images/piece-02/page-3.png", "inputs/images/piece-02/page-4.png"] |
musp_82 | 3 | Balakirev | Islamey | Starting at 3:37, the performer plays a lyrical passage in which two voices engage in dialogue. At what time does a new passage first take over by breaking with previous texture, character, and articulation? | P | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["3:53", "3:52"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_83 | 3 | Balakirev | Islamey | The passage beginning at 0:21 forms a distinct, coherent section, contrasting with the preceding material through its repeated melodic pattern and characteristic texture. Until what time does the music remain recognizably within this same pattern and texture before transitioning into a different section? | P | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["00:31", "00:32"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_84 | 3 | Balakirev | Islamey | At what time in the second half of the piece does the performer play a glissando? Identify the start time of the glissando. | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["0:37", "02:14", "11:05"] | ["6:56"] | inputs/abc/piece-03.abc | inputs/midi_performance_event_text/piece-03.txt | inputs/abc_plus_midi/piece-03.abc | inputs/audio/piece-03.wav | inputs/pdf/without_context/piece-03.pdf | ["inputs/images/piece-03/page-01.png", "inputs/images/piece-03/page-02.png", "inputs/images/piece-03/page-03.png", "inputs/images/piece-03/page-04.png", "inputs/images/piece-03/page-05.png", "inputs/images/piece-03/page-06.png", "inputs/images/piece-03/page-07.png", "inputs/images/piece-03/page-08.png", "inputs/images/... |
musp_85 | 4 | Beethoven | Piano Sonata 23, movement 1 | Between 09:07 and 09:11, the music plays the same melody across three different octaves. If you were to summarize a single occurrence of that melody in three notes such that the contour and essence remain the same, what would it be? | P | null | Short | Pitch | Pitch class without octave number | List ordered by appearance | ["A, G#, Bb"] | ["C, Db, C"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_86 | 4 | Beethoven | Piano Sonata 23, movement 1 | Within the first minute, at what time does the first katabasis (a catastrophic descent) take place? | P | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["00:36"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_87 | 4 | Beethoven | Piano Sonata 23, movement 1 | What is the final point toward which the music builds before it begins to die away? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["9:11", "09:11"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_88 | 4 | Beethoven | Piano Sonata 23, movement 1 | When does the re-exposition start? Identify the timestamp of the first upper-melodic note. | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["02:54"] | ["4:58", "04:58"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_89 | 4 | Beethoven | Piano Sonata 23, movement 1 | The opening (up until 00:44) contains what may seem like a question-answer dialogue between two people. At what point does the questioner seem so dissatisfied with/scared about the repeated answer that they seemingly enter a state of fright/panic? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:32"] | ["00:35", "00:36"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_90 | 4 | Beethoven | Piano Sonata 23, movement 1 | Starting at what time is the complete and exact short-short-short-long rhythmic figure, associated with the composer’s Fifth Symphony, repeated, with transposition allowed, making it the main motif for at least 6 seconds for the first time? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["0:37", "02:14", "11:05"] | ["4:47"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_91 | 4 | Beethoven | Piano Sonata 23, movement 1 | At two points in the piece, a soft, wandering solo line descends before giving way to a sudden expressive outburst. At what times do these outbursts following the line immediately occur? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Pair | ["0:37, 02:14"] | ["1:58, 6:55"] | inputs/abc/piece-04.abc | inputs/midi_performance_event_text/piece-04.txt | inputs/abc_plus_midi/piece-04.abc | inputs/audio/piece-04.wav | inputs/pdf/without_context/piece-04.pdf | ["inputs/images/piece-04/page-01.png", "inputs/images/piece-04/page-02.png", "inputs/images/piece-04/page-03.png", "inputs/images/piece-04/page-04.png", "inputs/images/piece-04/page-05.png", "inputs/images/piece-04/page-06.png", "inputs/images/piece-04/page-07.png", "inputs/images/piece-04/page-08.png", "inputs/images/... |
musp_92 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | What type of cadence is played in 8:53-8:56? | P | null | Short | Category label | Cadence name written in full | Single | ["half cadence"] | ["deceptive cadence", "interrupted cadence", "false cadence", "half cadence", "open cadence"] | inputs/abc/piece-05.abc | inputs/midi_performance_event_text/piece-05.txt | inputs/abc_plus_midi/piece-05.abc | inputs/audio/piece-05.wav | inputs/pdf/without_context/piece-05.pdf | ["inputs/images/piece-05/page-01.png", "inputs/images/piece-05/page-02.png", "inputs/images/piece-05/page-03.png", "inputs/images/piece-05/page-04.png", "inputs/images/piece-05/page-05.png", "inputs/images/piece-05/page-06.png", "inputs/images/piece-05/page-07.png", "inputs/images/piece-05/page-08.png", "inputs/images/... |
musp_93 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | From 9:44 until the end of the movement, identify uninterrupted descending C-major scalar runs. Consider a run only when it consists of at least eight consecutive C-major scale tones in one direction, with each successive tone moving by one diatonic scale step. Report the highest note of each scale instance. | P | null | Long | Pitch | Pitch class without octave number | List ordered by appearance | ["C#, Bb, Fx"] | ["F, F, F"] | inputs/abc/piece-05.abc | inputs/midi_performance_event_text/piece-05.txt | inputs/abc_plus_midi/piece-05.abc | inputs/audio/piece-05.wav | inputs/pdf/without_context/piece-05.pdf | ["inputs/images/piece-05/page-01.png", "inputs/images/piece-05/page-02.png", "inputs/images/piece-05/page-03.png", "inputs/images/piece-05/page-04.png", "inputs/images/piece-05/page-05.png", "inputs/images/piece-05/page-06.png", "inputs/images/piece-05/page-07.png", "inputs/images/piece-05/page-08.png", "inputs/images/... |
musp_94 | 19 | Beethoven | Symphony No. 2, movement 1 | What are the notes of the upper-voice melody played by the oboe and bassoon during the first 17 seconds of the piece? | P | null | Mid | Pitch | Pitch class without octave number | List ordered by appearance | ["A, G#, Bb"] | ["F#, E, E, E#, F#, F#, F#, A, G, F#, E, D#, E, G, C#, D", "F#, E, E, E#, F#, F#, F#, A, G, F#, E, D#, E, G, C#"] | inputs/abc/piece-19.abc | inputs/midi_performance_event_text/piece-19.txt | inputs/abc_plus_midi/piece-19.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-19.pdf | ["inputs/images/piece-19/page-1.png", "inputs/images/piece-19/page-2.png", "inputs/images/piece-19/page-3.png"] |
musp_95 | 19 | Beethoven | Symphony No. 2, movement 1 | At what time is the dominant chord with respect to the home key first played? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:37", "02:14", "11:05"] | ["00:16"] | inputs/abc/piece-19.abc | inputs/midi_performance_event_text/piece-19.txt | inputs/abc_plus_midi/piece-19.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-19.pdf | ["inputs/images/piece-19/page-1.png", "inputs/images/piece-19/page-2.png", "inputs/images/piece-19/page-3.png"] |
musp_96 | 19 | Beethoven | Symphony No. 2, movement 1 | At some point, the orchestra plays tutti. From what time onward? | P | null | Long | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:37"] | ["00:17"] | inputs/abc/piece-19.abc | inputs/midi_performance_event_text/piece-19.txt | inputs/abc_plus_midi/piece-19.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-19.pdf | ["inputs/images/piece-19/page-1.png", "inputs/images/piece-19/page-2.png", "inputs/images/piece-19/page-3.png"] |
musp_97 | 20 | Beethoven | Symphony No. 2, movement 3 | The first phrase can be seen as a period with an antecedent and a consequent. When does the consequent begin? | P | null | Mid | Timestamp | Timestamp in M:SS or MM:SS (rounded down) | Single | ["00:37", "02:14", "11:05"] | ["00:05"] | inputs/abc/piece-20.abc | inputs/midi_performance_event_text/piece-20.txt | inputs/abc_plus_midi/piece-20.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-20.pdf | ["inputs/images/piece-20/page-1.png", "inputs/images/piece-20/page-2.png", "inputs/images/piece-20/page-3.png"] |
musp_98 | 20 | Beethoven | Symphony No. 2, movement 3 | Which instrument plays the main melody, 0:11 onwards? | P | null | Mid | Short text | Instrument name | Single | ["Piano"] | ["Violin", "first violin"] | inputs/abc/piece-20.abc | inputs/midi_performance_event_text/piece-20.txt | inputs/abc_plus_midi/piece-20.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-20.pdf | ["inputs/images/piece-20/page-1.png", "inputs/images/piece-20/page-2.png", "inputs/images/piece-20/page-3.png"] |
musp_99 | 20 | Beethoven | Symphony No. 2, movement 3 | During the first 13 seconds of the piece, a melodic line is formed by the notes that are played forte. Which notes constitute this line? Only name the most prominently sounding pitches. | P | null | Mid | Pitch | Pitch class without octave number | List ordered by appearance | ["Bb, F#, C"] | ["D, E, D, C#, D, D, E, A, G#, A"] | inputs/abc/piece-20.abc | inputs/midi_performance_event_text/piece-20.txt | inputs/abc_plus_midi/piece-20.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-20.pdf | ["inputs/images/piece-20/page-1.png", "inputs/images/piece-20/page-2.png", "inputs/images/piece-20/page-3.png"] |
musp_100 | 20 | Beethoven | Symphony No. 2, movement 3 | Considering the patterns established by the end of the piece, what is the most likely next melodic pitch immediately after the recording? | P | null | Long | Pitch | Pitch class without octave number | Single | ["A", "G#"] | ["A", ""] | inputs/abc/piece-20.abc | inputs/midi_performance_event_text/piece-20.txt | inputs/abc_plus_midi/piece-20.abc | https://zenodo.org/records/20344500/files/BSED.zip?download=1 | inputs/pdf/without_context/piece-20.pdf | ["inputs/images/piece-20/page-1.png", "inputs/images/piece-20/page-2.png", "inputs/images/piece-20/page-3.png"] |
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