index
stringlengths 16
20
| label
int64 0
1
| sentence
stringlengths 1
609
| POS
stringclasses 17
values | FGPOS
stringlengths 1
4
| w_index
int64 0
108
|
|---|---|---|---|---|---|
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
ADJ
|
JJ
| 7 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
NOUN
|
NNS
| 8 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
CCONJ
|
CC
| 9 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
NOUN
|
NNS
| 10 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
PUNCT
|
:
| 11 |
a1h-fragment05 80
| 1 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
ADP
|
IN
| 12 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
NOUN
|
NNS
| 13 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
ADP
|
IN
| 14 |
a1h-fragment05 80
| 1 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
ADJ
|
JJ
| 15 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
NOUN
|
NN
| 16 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
PUNCT
|
:
| 17 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
AUX
|
VBD
| 18 |
a1h-fragment05 80
| 0 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
X
|
LS
| 19 |
a1h-fragment05 80
| 1 |
But the resulting mixture of hymns , folksy tunes and recitatives — at times of intoxicating banality — was a sensation .
|
NOUN
|
NN
| 20 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
DET
|
DT
| 0 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PROPN
|
NNP
| 1 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
SCONJ
|
IN
| 3 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PROPN
|
NNP
| 4 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PART
|
POS
| 5 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PROPN
|
NNP
| 6 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
CCONJ
|
CC
| 7 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PROPN
|
NNP
| 8 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
DET
|
DT
| 9 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
VERB
|
VBG
| 10 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
NOUN
|
NN
| 11 |
a1h-fragment05 81
| 1 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
VERB
|
VBN
| 13 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
DET
|
DT
| 14 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
DET
|
DT
| 15 |
a1h-fragment05 81
| 1 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
VERB
|
VBN
| 16 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
CCONJ
|
CC
| 17 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
DET
|
DT
| 18 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
VERB
|
VBG
| 19 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
CCONJ
|
CC
| 20 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
NOUN
|
NN
| 21 |
a1h-fragment05 81
| 1 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
VERB
|
VBD
| 22 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PRON
|
PRP
| 23 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
X
|
LS
| 24 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
ADJ
|
JJ
| 25 |
a1h-fragment05 81
| 1 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
NOUN
|
NN
| 26 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
SCONJ
|
IN
| 27 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PRON
|
PRP
| 28 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
AUX
|
VBD
| 29 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
ADP
|
IN
| 30 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PROPN
|
NNP
| 31 |
a1h-fragment05 81
| 0 |
The opera , like Gershwin 's Porgy and Bess the following year , used an all-Black cast and the staging and choreography gave it a British connection since it was by Frederick Ashton .
|
PROPN
|
NNP
| 32 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
DET
|
DT
| 0 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
NOUN
|
NN
| 1 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADP
|
IN
| 2 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
PRON
|
PRP
| 3 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
DET
|
DT
| 4 |
a1h-fragment05 82
| 1 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
NOUN
|
NNS
| 5 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADJ
|
JJR
| 6 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
NOUN
|
NN
| 7 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
CCONJ
|
CC
| 9 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADV
|
RB
| 10 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADV
|
RB
| 11 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
VERB
|
VBZ
| 12 |
a1h-fragment05 82
| 1 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
SCONJ
|
IN
| 13 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
NOUN
|
NN
| 14 |
a1h-fragment05 82
| 1 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADP
|
IN
| 15 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
PRON
|
WP
| 16 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
AUX
|
VBZ
| 17 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADV
|
RB
| 18 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
X
|
LS
| 19 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADV
|
RB
| 20 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
ADJ
|
JJ
| 21 |
a1h-fragment05 82
| 0 |
The Mother of Us All shows more continuity , but again much depends upon production in what is still a largely non-narrative opera .
|
PROPN
|
NNP
| 22 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADP
|
IN
| 0 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NUM
|
CD
| 1 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NUM
|
CD
| 3 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NNS
| 4 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADP
|
IN
| 5 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
PROPN
|
NNP
| 6 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
PROPN
|
NNP
| 7 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
PROPN
|
NNP
| 9 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
VERB
|
VBD
| 10 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
VERB
|
VBG
| 11 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NN
| 12 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NNS
| 13 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
DET
|
WDT
| 14 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
AUX
|
VBD
| 15 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
X
|
LS
| 16 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NN
| 17 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADP
|
IN
| 18 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADJ
|
JJ
| 19 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NN
| 20 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
CCONJ
|
CC
| 21 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NN
| 22 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
VERB
|
VBG
| 24 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADJ
|
JJ
| 25 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NNS
| 26 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADP
|
IN
| 27 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NN
| 28 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
NOUN
|
NNS
| 29 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
ADJ
|
JJ
| 30 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
SCONJ
|
IN
| 31 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
DET
|
DT
| 32 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
PROPN
|
NNP
| 33 |
a1h-fragment05 83
| 0 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
DET
|
DT
| 34 |
a1h-fragment05 83
| 1 |
In 1936 , three years before Aaron Copland , Thomson started writing film scores which were a model of unobtrusive clarity and pertinence , combining American materials to suit documentaries such as The Plow that Broke the Plains and The River with the musique d'ameublement approach of Satie .
|
VERB
|
VBD
| 35 |
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