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c5b5f69aafde7659280a8677c5117b24ff45ef9c | Frédéric_Chopin | Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. | Potocka sang and Franchomme played the cello not by their own accord, but because it was what? | {
"text": [
"his request"
],
"answer_start": [
38
]
} | {
"split": "train",
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5589e69c578d5c82682b4f626f067bf95c5a9d05 | Frédéric_Chopin | Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. | Who is Solange's parent? | {
"text": [
"Sand"
],
"answer_start": [
680
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} | {
"split": "train",
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545256f7d19ee279fed67d46886473a18bc5290a | Frédéric_Chopin | Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. | Who did Sand's child wed? | {
"text": [
"Clésinger"
],
"answer_start": [
781
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} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e1a974ef6e7e9248fb09a35b26aef13ded7d8654 | Frédéric_Chopin | Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. | Which is not a last name, Chopin or Solange? | {
"text": [
"Solange"
],
"answer_start": [
763
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} | {
"split": "train",
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d80119916aa7a3d613835654f86ecedf9b142c84 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Who is not a royal: Queen Victoria, Jenny Lind, or Prince Albert? | {
"text": [
"Jenny Lind"
],
"answer_start": [
418
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
c31784464a0e9af77d8bc9166c13cd1ec820c764 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Where were vocals added to the piano music? | {
"text": [
"At a concert on 7 July"
],
"answer_start": [
631
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
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e5c305dc562dc87dd37d6b0e39cf8841ee0395b9 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Which of the following was not a member of the aristocracy: Chopin, Queen Victoria or Prince Albert? | {
"text": [
"Chopin"
],
"answer_start": [
10
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} | {
"split": "train",
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} |
979a79f359b1ae721015bfae539aa6431c96eeb0 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | How did Chopin get gigs? | {
"text": [
"Broadwood"
],
"answer_start": [
324
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
5fec04d5018d94757f897753a4134d1baf104175 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | What else did Chopin offer, besides concerts? | {
"text": [
"piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals"
],
"answer_start": [
463
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} | {
"split": "train",
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6b1081a044e5f87f3e3bf131d4e3fc1824653be8 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | What would have been a cheaper way to see Chopin play in person? | {
"text": [
"piano lessons"
],
"answer_start": [
463
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
62c4484887114c946209fc95764ca3ae6e4bb0c5 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Which cost more, piano lessons or private recitals? | {
"text": [
"private recitals"
],
"answer_start": [
580
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
8e4a09ddcf8313d12fe5968a047b1e276784ad30 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Who is not a musician: Jenny Lind, Chopin, or Stafford? | {
"text": [
"Stafford"
],
"answer_start": [
147
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
766b8591253dfa522c03040e839f21ed29c3b6d2 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Who has Chopin performed beside? | {
"text": [
"Viardot"
],
"answer_start": [
682
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
2a69137b7e7a567c4020e166930ee8e55c6aa6ae | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | How did Prince Albert try to learn from Chopin? | {
"text": [
"moved close to the keyboard to view Chopin's technique"
],
"answer_start": [
268
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
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2ded2de909698d1ee535d3e9f289b166853bab56 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | How would I know if I could get Chopin to teach me to play the flute? | {
"text": [
"Chopin was also sought after for piano lessons"
],
"answer_start": [
430
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
078fa67f209dbd8ef0b76195ab553750ab37e5c5 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | What instrument did Chopin play: piano or mazurkas? | {
"text": [
"piano"
],
"answer_start": [
102
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
df9d5a60f06d3f34970fa4b4b1c5d92895491735 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | What might suggest that Chopin had a high opinion of his skills? | {
"text": [
"charged the high fee"
],
"answer_start": [
491
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
5d0003bdac91ea6e091dfeac6c98869ee11a1c2f | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Who does the excerpt mainly focus on? | {
"text": [
"Chopin"
],
"answer_start": [
10
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
c9d7e370f3a037d770bc552ea32b538a0fc88540 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Which currency was used to pay Chopin? | {
"text": [
"guineas"
],
"answer_start": [
622
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
b798dd311ac715403faa7faf22563f56305061a5 | Frédéric_Chopin | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | Which of the following is not a musician: Jenny Lind, Chopin or Stafford? | {
"text": [
"Stafford"
],
"answer_start": [
147
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
75e386a958d4829019e18aebcb81c1bf5062970e | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | What resulted from the move? | {
"text": [
"In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n"
],
"answer_start": [
497
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} | {
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aebacd2d77a021b8ab20669aab8464a1b30a1fd9 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | The family moved, what could have triggered such a move to the Palace? | {
"text": [
"death"
],
"answer_start": [
24
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
dc426c17b5128d55369d6d5920ebdadb09fe2a27 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | The Chopin Family also known as what received their own what? | {
"text": [
"(Salonik Chopinów) became a museum"
],
"answer_start": [
441
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
8a3506a8ed10e253edc9b73aa4966e05ce261a5f | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | How did the move impact his life? | {
"text": [
"Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century"
],
"answer_start": [
340
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
1c4e70db05f13f31b24cf7075df24a352e771d56 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | What feature did they leave near? | {
"text": [
"the south annex of the Krasiński Palace on Krakowskie Przedmieście"
],
"answer_start": [
213
]
} | {
"split": "train",
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} |
3e094cb76dde9dc326cfcd10e50ad12c9c0a6d70 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | The students at the boarding house had what in common that is the last thing mentioned? | {
"text": [
"male"
],
"answer_start": [
400
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e57a69f8846ec9838a45543952f0a0b8459b9980 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | What impacted the artist's life? | {
"text": [
"the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n"
],
"answer_start": [
66
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} | {
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} |
4769835f84135b534b20c81d4b1b7a396d5402bb | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | What part of the country did they leave? | {
"text": [
"from the Warsaw University building, adjacent to the Kazimierz Palace"
],
"answer_start": [
83
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
d35eaf250b36d224b11b369681d2cb67ab6856cc | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | Who was not pictured in the family portraits done by Ambroży Mieroszewski in 1829? | {
"text": [
"Emilia"
],
"answer_start": [
58
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
4502c5c9f8aa640989f105958b20c1dcfa775a7b | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | In what way was his family's business preserved for the future? | {
"text": [
"became a museum in the 20th century"
],
"answer_start": [
460
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
13ae16395c5833def9c1ddf7098195b927f0ebce | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | Before leaving Warsaw when did Chopin first become immortalized in art? | {
"text": [
"1829"
],
"answer_start": [
500
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
7a94a3367704952cd5712805d9de1b773dec8426 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | How far away did they move? | {
"text": [
"across the street"
],
"answer_start": [
171
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
3127553f9e004bca9e883df8aae81815db2e93ce | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | At what address did Chopin live until 1830? | {
"text": [
"the south annex of the Krasiński Palace on Krakowskie Przedmieście"
],
"answer_start": [
213
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
1ccffe7a8322e2b554e3cbe467e514ee9db16337 | Frédéric_Chopin | In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7] | Before he left Warsaw, who immortalized Chopin in art? | {
"text": [
"Ambroży Mieroszewski"
],
"answer_start": [
516
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
df2c85d4e40e7f8e9aa203a7ef6de44f5222c478 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What peculiarity in Chopin's technique was different from the one other artists back in 1841? | {
"text": [
"His style was based extensively on his use of very independent finger technique"
],
"answer_start": [
472
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
9a44b156a5ffe5b9df598b8a694a3adb88945cfd | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | Which of the following did Escudier not attribute to Chopin: originality, dexterity or grace? | {
"text": [
"dexterity"
],
"answer_start": [
960
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
c0bad91f1d9f1428482f430715a0f453c096abde | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What type of playing did Chopin subscribe to? | {
"text": [
"no set technique"
],
"answer_start": [
437
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
b0b691555c5f6e8f21e8f7cf988429afda40bef8 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | Which of the following is not used to play the piano: hand, upper arm or school? | {
"text": [
"school"
],
"answer_start": [
136
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
5e15d60f8c2d8be8bc6cc3d117be2f97738884b6 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What part of the body is the most important to playing piano, according to Chopin? | {
"text": [
"hand, the wrist, the forearm and the upper arm"
],
"answer_start": [
681
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
4e721e5e17db5232936972926f83369de85eda2a | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | Which of the following is not a music term: grace notes, dexterity or octaves? | {
"text": [
"dexterity"
],
"answer_start": [
960
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
88187ffcc5394c41475e4655be38673ba15a5e75 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What did Chopin think of the standard method of playing piano? | {
"text": [
"refused to conform"
],
"answer_start": [
358
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
d27b1547dccb594fd344bc330464a8fa0224a652 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What did Chopin love to do above all else? | {
"text": [
"piano"
],
"answer_start": [
124
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
4d825ac3c52213bea1181f8477cf35c71dc08723 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What method of playing did Chopin believe in? | {
"text": [
"no set technique"
],
"answer_start": [
437
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
16d9bd1a9198f66a448a761d58f0936002099b3f | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What did Chopin do that made him different from other artist of his time? | {
"text": [
"Chopin refused to conform to a standard method of playing"
],
"answer_start": [
351
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
96122c06ea6c18740a17ab0cbc58be0e2650eb9e | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What did Chopin do in order to master his style? | {
"text": [
"One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound"
],
"answer_start": [
750
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
9fc692393ca652dafbb085968c4c7d0c85efee8f | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | How was Chopins music described as being unique? | {
"text": [
"distinction"
],
"answer_start": [
327
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
714967a6589dd5b3428f8751884c91213fc3c21a | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What trait did Chopin consider the most important when playing music? | {
"text": [
"dexterity"
],
"answer_start": [
960
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
9467252d2d42f3d7704d6fac2699e1b083805882 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands. | What part of the keyboard did the method Chopin used and taught include? | {
"text": [
"entire range of the keyboard, passages in double octaves and other chord groupings"
],
"answer_start": [
1069
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e557f6451b7e4e55007fe358a97c3b86a44e3bc0 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | Which doctor did not think Chopin was dead? | {
"text": [
"the third"
],
"answer_start": [
197
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
7d9417a561005f14b8c24cb3818c9d0938257231 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | In what month did Chopin receive the instrument he referenced in correspondence to Pleyel in 1839? | {
"text": [
"December"
],
"answer_start": [
324
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
624b05e36529e0bce18fde0cbd9864dcb068d4ae | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | Which opus did Chopin reference in correspondence to Pleyel in 1839? | {
"text": [
"Op. 28"
],
"answer_start": [
406
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
2f9acd6ff89b0dcef88fcff44cb8585d095d5b87 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | Which opus of Chopin's was composed on an instrument that survived the sea and bad weather? | {
"text": [
"Op. 28"
],
"answer_start": [
406
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
58297fbbd955867e9b8a0602797b473152931ef6 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | On what instrument did Chopin finish his Preludes on? | {
"text": [
"I finished them on your little piano"
],
"answer_start": [
416
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
b7489f6ebcc3962ee76d77d74e19a2b434462d86 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | Who told Chopin he was going to die? | {
"text": [
"doctors in Majorca"
],
"answer_start": [
82
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
8bf4c41f088a828a33a2deb508277355636de997 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | Why was Chopin unhappy with the doctors? | {
"text": [
"the incompetence of the doctors"
],
"answer_start": [
58
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
68a9076f8be541e498a48041c2dcd741fbb41b8e | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | How did the Pleyel piano arrive to Chopin? | {
"text": [
"the best possible condition"
],
"answer_start": [
471
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
bab077f8f8fdd6a7d52c400836f53fa502f621ac | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | What did Pleyel's piano help Chopin start? | {
"text": [
"Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39"
],
"answer_start": [
606
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
bed23468370b1cb7541d7f032fb95fc617de78db | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | What kept Chopin from receiving his piano? | {
"text": [
"the sea, the bad weather and the Palma customs"
],
"answer_start": [
511
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
188e8398ef0af0bf57a4a78860ae35c44d7afd72 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | What made Chopin need medical attention? | {
"text": [
"his bad health"
],
"answer_start": [
39
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
11783d2df876dfeebe2b5a4ec4762fb8b7dbacc1 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | Who did the two doctors think had died? | {
"text": [
"Chopin"
],
"answer_start": [
15
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
764ac37038cc6c698cc7b28f7ae3f9a724367357 | Frédéric_Chopin | On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39. | How did Chopin contact Pleyel? | {
"text": [
"Chopin wrote"
],
"answer_start": [
334
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
ff7ee4e9bc5a6782caa6ee4bab3bdef32591db3e | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Which of the following was not Chopin's pupil, Karol Mikuli or Mozart? | {
"text": [
"Mozart"
],
"answer_start": [
452
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
ee7129fb74aa24c334a676ff38f9fac361209076 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Who was something stolen from? | {
"text": [
"Mozart"
],
"answer_start": [
452
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
b9e2205707c1f7529b0895d7e0f05b9c15d34b80 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | What is a form of rubato Chopin used? | {
"text": [
"melody note in the right hand is delayed until after the note in the bass"
],
"answer_start": [
475
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
2f01074083d12beb529216bcec632107314f1997 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Chopin never used apreggiation of the chords, but would use which one? | {
"text": [
"form of rubato so important to Mozart"
],
"answer_start": [
421
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
85f67a5e57c2dc443d84f4fed5ee1907f61d76f5 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Why are Chopins' music easy to identify? | {
"text": [
"rubato"
],
"answer_start": [
41
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
7e2e88a103761fef51f347dc3c82b27a22baac06 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Which of the following people did not use rubato: Charles Rosen, Mozart or Chopin? | {
"text": [
"Charles Rosen"
],
"answer_start": [
258
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
de4c25122c2129bdb698559d9f6aa2d24d06a097 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | What was thought to have been more likely included in the alleged theft? | {
"text": [
"the older form of rubato"
],
"answer_start": [
411
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
ae3ae2b49758b226023f1d2cb8f40fb054fc09a2 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Who does Chopin take cues from in some of his music? | {
"text": [
"Mozart"
],
"answer_start": [
452
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e5dd46d0116dece5d74178aae2fa067b0e23db6b | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | What is it called when someone is stealing items from another? | {
"text": [
"robbing"
],
"answer_start": [
108
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
bf101288a07fde75495f3313d6260f23e9d4a4cd | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice." | Which of the following is a type of musical composition: mazurkas, rubato, or arpeggiation? | {
"text": [
"mazurkas"
],
"answer_start": [
366
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
19a18cbbcb2a7e38e23b4b96f51f03183d8ce6bc | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | When did it become an issue whether or not executions were public? | {
"text": [
"Around 1890"
],
"answer_start": [
0
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
ec229410e4f39dedbcdfd1c7542cdc42ee94f021 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | When did the death penalty become not for the public to watch | {
"text": [
"1890"
],
"answer_start": [
7
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
7c212a4513b0bc7fabb669b0e74df9f3bf94d889 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | Who could say who could watch a death penalty be carried out | {
"text": [
"sheriff"
],
"answer_start": [
489
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
c1ca9b98da1317f4d4546170ef4912326eb0af72 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What were a limited amount of people permitted to do during the execution? | {
"text": [
"witness the hanging"
],
"answer_start": [
582
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
9fc148d0e75f894e0bb6334bee12d99dc0a0b962 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What type of a ruling governs the death penalty in Missouri? | {
"text": [
"a statute"
],
"answer_start": [
278
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
0f819413ab614c1bafd1c69b7e460fb7e9a7be91 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What was different about executions in Missouri after 1919? | {
"text": [
"not \"public\""
],
"answer_start": [
750
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
eef6d760ec06f2ebdea1102c18df915fc3abfad9 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What Missouri law allowed sheriffs to gives passes to individuals? | {
"text": [
"L.1919, p. 781"
],
"answer_start": [
289
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
fbc889d6806853fdce0ef37e54b61a172ffab7f9 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | Who did a sherrif allow to watch a death penalty get carried out | {
"text": [
"local citizens"
],
"answer_start": [
542
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e1aba183f98dcf41d13e937f28add82e41c55d5b | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What law disallowed the public from attending executions in Missouri? | {
"text": [
"L.1919, p. 781"
],
"answer_start": [
289
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
133c1300d2f3c07ef464d103425418590a7cf1e9 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | Where were the death penalties carried when they couldn't be done in the holding facility | {
"text": [
"enclosure near the jail"
],
"answer_start": [
426
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
d645c184d284331e564335e017beb2a8c5744130 | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What were states doing to make executions private? | {
"text": [
"Several states enacted laws"
],
"answer_start": [
96
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
f131defc5383ae5b8bbd314b52f0b2d9ac55e95f | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | What law was passed in Missouri in 1919? | {
"text": [
"L.1919, p. 781"
],
"answer_start": [
289
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
835777a0f7f14517a2e199c2a80320b4216e264d | Capital_punishment_in_the_United_States | Around 1890, a political movement developed in the United States to mandate private executions. Several states enacted laws which required executions to be conducted within a "wall" or "enclosure" to "exclude public view." For example, in 1919, the Missouri legislature adopted a statute (L.1919, p. 781) which required, "the sentence of death should be executed within the county jail, if convenient, and otherwise within an enclosure near the jail." The Missouri law permitted the local sheriff to distribute passes to individuals (usually local citizens) whom he believed should witness the hanging, but the sheriffs – for various reasons – sometimes denied passes to individuals who wanted to watch. Missouri executions conducted after 1919 were not "public" because they were conducted behind closed walls, and the general public was not permitted to attend. | In what part of the country could you no longer watch a death penalty get carried out | {
"text": [
"Missouri"
],
"answer_start": [
704
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e6a4b1b361201a138b5ace605124c4852664a569 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | What is a jury supposed to talk about when it comes to the defendant? | {
"text": [
"defendant's mental health"
],
"answer_start": [
268
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
85363ae85f2202aa9ba119ecb72e5ca4311055bf | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | What needs to be considered about the health of the defendant? | {
"text": [
"mitigating factors regarding the defendant's mental health"
],
"answer_start": [
235
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
497a3a56ef9c88b3a39d806edd6037e65ff082c4 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | Where is the Supreme Court? | {
"text": [
"United States"
],
"answer_start": [
4
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
52f7727b3af6724103c4f18ce0b2c729708e4a46 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | If the jury doesn't talk about the defendant's mental state it is considered doing what? | {
"text": [
"violate the defendant's Eighth Amendment rights"
],
"answer_start": [
294
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
2973e83fc8baec84f4a3ffb6335f8c74ea4fd737 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | Which mitigating factor are we concerned with in the passage? | {
"text": [
"mental health"
],
"answer_start": [
280
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
0c03a527abbfd504860c95cc728f60a9dfaf0494 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | What is given to the jury to help them understand the case better? | {
"text": [
"specific explanations"
],
"answer_start": [
477
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
d127a675a5f7ff050f02413081754a59c29b6a95 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | What is specified to the jury? | {
"text": [
"to weigh mitigating factors"
],
"answer_start": [
525
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
3e4fa31546e59c43c70e07e88100f2851a6a9304 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | When does the jury need to consider mental health? | {
"text": [
"in death penalty cases"
],
"answer_start": [
190
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
87b5dec4d5ce02e743813ec945eb6917403fbcfc | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | What has to happen with regard to mitigating factors? | {
"text": [
"the jury is to be instructed to consider mitigating factors"
],
"answer_start": [
355
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
99b1c536d68468c5ca0751523f468a1dd0bfaab0 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | Where is the Court of Appeals? | {
"text": [
"United States"
],
"answer_start": [
60
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
bd83aee083c57112a029f1e27e472d2ce0e5f732 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | What does the jury need to be given in a death penalty case? | {
"text": [
"specific explanations"
],
"answer_start": [
477
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
3f9756f92133af58759a02f21787314adb2106e2 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | When Courts don't brief jurors on these factors, they are essentially ignoring what? | {
"text": [
"the defendant's Eighth Amendment rights"
],
"answer_start": [
302
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
d205e02b6bcf3f881b053409a8661f18aa76c678 | Capital_punishment_in_the_United_States | The United States Supreme Court in Penry v. Lynaugh and the United States Court of Appeals for the Fifth Circuit in Bigby v. Dretke have been clear in their decisions that jury instructions in death penalty cases that do not ask about mitigating factors regarding the defendant's mental health violate the defendant's Eighth Amendment rights, saying that the jury is to be instructed to consider mitigating factors when answering unrelated questions. This ruling suggests that specific explanations to the jury are necessary to weigh mitigating factors. | Which general policy connects Bigby v. Dretke to the other case that was held in the Supreme Court? | {
"text": [
"death penalty"
],
"answer_start": [
193
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
a69990932336474ce86b53a5dcc785b0db43704e | Capital_punishment_in_the_United_States | Traditionally, Section 1983 was of limited use for a state prisoner under sentence of death because the Supreme Court has held that habeas corpus, not Section 1983, is the only vehicle by which a state prisoner can challenge his judgment of death. In the 2006 Hill v. McDonough case, however, the United States Supreme Court approved the use of Section 1983 as a vehicle for challenging a state's method of execution as cruel and unusual punishment in violation of the Eighth Amendment. The theory is that a prisoner bringing such a challenge is not attacking directly his judgment of death, but rather the means by which that the judgment will be carried out. Therefore, the Supreme Court held in the Hill case that a prisoner can use Section 1983 rather than habeas corpus to bring the lawsuit. Yet, as Clarence Hill's own case shows, lower federal courts have often refused to hear suits challenging methods of execution on the ground that the prisoner brought the claim too late and only for the purposes of delay. Further, the Court's decision in Baze v. Rees, upholding a lethal injection method used by many states, has drastically narrowed the opportunity for relief through Section 1983. | Who is the plaintiff in Hill v. McDonough? | {
"text": [
"Hill"
],
"answer_start": [
260
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
135b889c706320a892ce756c86fee9775caed4c8 | Capital_punishment_in_the_United_States | Traditionally, Section 1983 was of limited use for a state prisoner under sentence of death because the Supreme Court has held that habeas corpus, not Section 1983, is the only vehicle by which a state prisoner can challenge his judgment of death. In the 2006 Hill v. McDonough case, however, the United States Supreme Court approved the use of Section 1983 as a vehicle for challenging a state's method of execution as cruel and unusual punishment in violation of the Eighth Amendment. The theory is that a prisoner bringing such a challenge is not attacking directly his judgment of death, but rather the means by which that the judgment will be carried out. Therefore, the Supreme Court held in the Hill case that a prisoner can use Section 1983 rather than habeas corpus to bring the lawsuit. Yet, as Clarence Hill's own case shows, lower federal courts have often refused to hear suits challenging methods of execution on the ground that the prisoner brought the claim too late and only for the purposes of delay. Further, the Court's decision in Baze v. Rees, upholding a lethal injection method used by many states, has drastically narrowed the opportunity for relief through Section 1983. | Why can't Section 1983 be used to challenge a death sentence? | {
"text": [
"violation of the Eighth Amendment"
],
"answer_start": [
452
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
e2fc5df48683ed23509665b40f0dac5188a9ca6a | Capital_punishment_in_the_United_States | Traditionally, Section 1983 was of limited use for a state prisoner under sentence of death because the Supreme Court has held that habeas corpus, not Section 1983, is the only vehicle by which a state prisoner can challenge his judgment of death. In the 2006 Hill v. McDonough case, however, the United States Supreme Court approved the use of Section 1983 as a vehicle for challenging a state's method of execution as cruel and unusual punishment in violation of the Eighth Amendment. The theory is that a prisoner bringing such a challenge is not attacking directly his judgment of death, but rather the means by which that the judgment will be carried out. Therefore, the Supreme Court held in the Hill case that a prisoner can use Section 1983 rather than habeas corpus to bring the lawsuit. Yet, as Clarence Hill's own case shows, lower federal courts have often refused to hear suits challenging methods of execution on the ground that the prisoner brought the claim too late and only for the purposes of delay. Further, the Court's decision in Baze v. Rees, upholding a lethal injection method used by many states, has drastically narrowed the opportunity for relief through Section 1983. | What is permitted to be challenged under Section 1983? | {
"text": [
"means by which that the judgment will be carried out"
],
"answer_start": [
607
]
} | {
"split": "train",
"model_in_the_loop": "Combined"
} |
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