index
stringlengths 16
20
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int64 0
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| sentence
stringlengths 1
609
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stringclasses 17
values | FGPOS
stringlengths 1
4
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int64 0
108
|
|---|---|---|---|---|---|
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
| 36 |
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
| 37 |
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
| 38 |
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
| 39 |
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
| 40 |
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
| 41 |
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
| 42 |
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
| 43 |
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
| 44 |
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
| 45 |
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
| 46 |
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
| 47 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
DET
|
PRP$
| 0 |
a1h-fragment05 84
| 1 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
NOUN
|
NN
| 1 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
ADP
|
IN
| 2 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
DET
|
DT
| 3 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
NOUN
|
NN
| 4 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
PROPN
|
NNP
| 5 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
NOUN
|
NN
| 6 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
AUX
|
VBD
| 7 |
a1h-fragment05 84
| 1 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
VERB
|
VBN
| 8 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
DET
|
DT
| 9 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
PROPN
|
NNP
| 10 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
NOUN
|
NN
| 11 |
a1h-fragment05 84
| 1 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
ADP
|
IN
| 12 |
a1h-fragment05 84
| 0 |
His score for the film Louisiana Story was awarded the Pulitzer Prize in 1948 .
|
NUM
|
CD
| 13 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
DET
|
DT
| 0 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
NOUN
|
NN
| 1 |
a1h-fragment05 85
| 1 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
ADP
|
IN
| 2 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
X
|
LS
| 3 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
ADJ
|
JJ
| 4 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
NOUN
|
NN
| 5 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
AUX
|
VBD
| 6 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
PROPN
|
NNP
| 7 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
PART
|
POS
| 8 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
PROPN
|
NNP
| 9 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
ADP
|
IN
| 10 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
ADJ
|
JJ
| 11 |
a1h-fragment05 85
| 1 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
NOUN
|
NNS
| 12 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
ADP
|
IN
| 13 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
NOUN
|
NNS
| 14 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
ADJ
|
JJ
| 15 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
SCONJ
|
IN
| 16 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
PROPN
|
NNP
| 17 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
CCONJ
|
CC
| 18 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
PROPN
|
NNP
| 19 |
a1h-fragment05 85
| 0 |
Another response to a visual stimulus was Thomson 's series of musical portraits of people such as Picasso and Aaron Copland .
|
PROPN
|
NNP
| 20 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
DET
|
DT
| 0 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
ADV
|
RB
| 1 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
ADP
|
IN
| 2 |
a1h-fragment05 86
| 1 |
The first of these was written in 1928 and they number about 150 .
|
DET
|
DT
| 3 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
AUX
|
VBD
| 4 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
VERB
|
VBN
| 5 |
a1h-fragment05 86
| 1 |
The first of these was written in 1928 and they number about 150 .
|
ADP
|
IN
| 6 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
NUM
|
CD
| 7 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
CCONJ
|
CC
| 8 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
PRON
|
PRP
| 9 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
NOUN
|
NN
| 10 |
a1h-fragment05 86
| 1 |
The first of these was written in 1928 and they number about 150 .
|
ADP
|
IN
| 11 |
a1h-fragment05 86
| 0 |
The first of these was written in 1928 and they number about 150 .
|
NUM
|
CD
| 12 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADV
|
RB
| 0 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
SCONJ
|
IN
| 1 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PROPN
|
NNP
| 2 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
VERB
|
VBN
| 3 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PROPN
|
NNP
| 4 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PART
|
POS
| 5 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADJ
|
JJ
| 6 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 7 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADP
|
IN
| 8 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 9 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADV
|
RB
| 11 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
DET
|
DT
| 12 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NNS
| 13 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADV
|
RB
| 14 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
VERB
|
VB
| 15 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
DET
|
DT
| 16 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 17 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PART
|
POS
| 18 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 19 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADP
|
IN
| 20 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
VERB
|
VBG
| 21 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
DET
|
DT
| 22 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PROPN
|
NNP
| 23 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADP
|
IN
| 24 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 25 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
DET
|
DT
| 27 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 28 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 29 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADP
|
IN
| 30 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PROPN
|
NNP
| 31 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
PART
|
POS
| 32 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 33 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADP
|
IN
| 34 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADJ
|
JJ
| 35 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
NOUN
|
NN
| 36 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADP
|
IN
| 37 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
DET
|
DT
| 38 |
a1h-fragment05 87
| 0 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADJ
|
JJ
| 39 |
a1h-fragment05 87
| 1 |
Just as Thomson transferred Stein 's literary abstraction to music , so these portraits unusually employ the painter 's technique of drawing the sitter from life : an ideal combination of Thomson 's habit of immediate response with an actual subject .
|
ADJ
|
JJ
| 40 |
a1h-fragment05 88
| 0 |
The results are terse and sharply etched , like the best line drawings .
|
DET
|
DT
| 0 |
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