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SQuAD
Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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8777a140eb7a4ff383dc76eed485f223
What did Chopin tend to avoid?
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{ "text": [ "rigid procedures" ], "char_spans": [ { "start": [ 500 ], "end": [ 515 ] } ], "token_spans": [ { "start": [ 91 ], "end": [ 92 ] } ] }
[ "rigid procedures" ]
SQuAD
Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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59ee6d29e0cd46c3ba2bc9176ea0d851
What has been falsely credited to Chopin?
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{ "text": [ "\"always crescendo to a high note\"" ], "char_spans": [ { "start": [ 566 ], "end": [ 598 ] } ], "token_spans": [ { "start": [ 101 ], "end": [ 108 ] } ] }
[ "\"always crescendo to a high note\"" ]
SQuAD
Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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3c66bda960d141a9a713d4840100e503
What did Chopin tell a student is given up in concerts?
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{ "text": [ "hearing in them all the most beautiful things of art" ], "char_spans": [ { "start": [ 378 ], "end": [ 429 ] } ], "token_spans": [ { "start": [ 70 ], "end": [ 79 ] } ] }
[ "hearing in them all the most beautiful things of art" ]
SQuAD
Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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56468de3cd764822a3332eb369ffd8ac
Who wrote about Chopin's "chromatic embroidery"?
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{ "text": [ "Berlioz" ], "char_spans": [ { "start": [ 699 ], "end": [ 705 ] } ], "token_spans": [ { "start": [ 125 ], "end": [ 125 ] } ] }
[ "Berlioz" ]
SQuAD
Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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b2d11d29d49d452ca12c91c9f2de6de3
Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?
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{ "text": [ "Hiller" ], "char_spans": [ { "start": [ 944 ], "end": [ 949 ] } ], "token_spans": [ { "start": [ 171 ], "end": [ 171 ] } ] }
[ "Hiller" ]
SQuAD
Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."
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According to who did Chopin demand strictly sticking with rhythm?
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[ "Friederike Müller" ]
SQuAD
Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."
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Which student said Chopin made sure his students knew his legato, cantabile style of playing?
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[ "Friederike Müller" ]
SQuAD
Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."
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292f4a9efd5945eba971fe99a4f76f11
According to Friederike Müller, Chopin insisted his students have the strictest adherence to what?
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[ "rhythm." ]
SQuAD
Historians disagree on what the relationship was between the Ming court and Tibet and whether or not Ming China had sovereignty over Tibet. Van Praag writes that Chinese court historians viewed Tibet as an independent foreign tributary and had little interest in Tibet besides a lama-patron relationship. The historian Tsepon W. D. Shakabpa supports van Praag's position. However, Wang Jiawei and Nyima Gyaincain state that these assertions by van Praag and Shakabpa are "fallacies".
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Who supported van Praag's beliefs?
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[ "historian Tsepon W. D. Shakabpa" ]
SQuAD
Historians disagree on what the relationship was between the Ming court and Tibet and whether or not Ming China had sovereignty over Tibet. Van Praag writes that Chinese court historians viewed Tibet as an independent foreign tributary and had little interest in Tibet besides a lama-patron relationship. The historian Tsepon W. D. Shakabpa supports van Praag's position. However, Wang Jiawei and Nyima Gyaincain state that these assertions by van Praag and Shakabpa are "fallacies".
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Who did not agree with van Praag and Shakabpa?
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[ "Wang Jiawei and Nyima Gyaincain" ]
SQuAD
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
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The Kobylańska Catalogue was named for who?
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{ "text": [ "Krystyna Kobylańska" ], "char_spans": [ { "start": [ 285 ], "end": [ 303 ] } ], "token_spans": [ { "start": [ 46 ], "end": [ 47 ] } ] }
[ "Krystyna Kobylańska" ]
SQuAD
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
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Pieces published after what year stopped receiving opus numbers?
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[ "1857" ]
SQuAD
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
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e9d9bc031c084e05b7d85e6c1457cf90
What have pieces published after 1857 been given rather than opus numbers?
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{ "text": [ "alternative catalogue designations" ], "char_spans": [ { "start": [ 41 ], "end": [ 74 ] } ], "token_spans": [ { "start": [ 6 ], "end": [ 8 ] } ] }
[ "alternative catalogue designations" ]
SQuAD
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
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What is the current musicologist reference for Chopin's pieces?
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{ "text": [ "the Kobylańska Catalogue" ], "char_spans": [ { "start": [ 168 ], "end": [ 191 ] } ], "token_spans": [ { "start": [ 24 ], "end": [ 26 ] } ] }
[ "the Kobylańska Catalogue" ]
SQuAD
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
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What is the shortened reference for the Kobylańska Catalogue?
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[ "KK" ]
SQuAD
Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.
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Who compiled the Kobylańska Catalogue?
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[ "Krystyna Kobylańska." ]
SQuAD
A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."
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A modern commentator, William Atwood, feels Poles not only sought solace in Chopin's music but also found them a source of strength as they continued to fight for what?
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[ "freedom" ]
SQuAD
A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."
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Where were Poles scattered to?
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[ "Europe and the New World" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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In what suite did Schumann name a work for Chopin?
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[ "Carnaval" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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What piece of Chopin's work was dedicated to Schumann?
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{ "text": [ "Ballade No. 2 in F major" ], "char_spans": [ { "start": [ 179 ], "end": [ 202 ] } ], "token_spans": [ { "start": [ 33 ], "end": [ 39 ] } ] }
[ "Ballade No. 2 in F major" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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How many of Chopin's Polish songs did Liszt transliterate for piano?
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[ "six" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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With who did Chopin feel comfortable speaking of folk music with?
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[ "Alkan" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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What was recognized about Chopin from his musical peers?
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[ "qualities as a pianist and composer" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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What Schumann suite contained the name of a piece Schumann named for Chopin?
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{ "text": [ "Carnaval" ], "char_spans": [ { "start": [ 138 ], "end": [ 145 ] } ], "token_spans": [ { "start": [ 26 ], "end": [ 26 ] } ] }
[ "Carnaval" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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What piece did Chopin dedicate to Schumann?
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{ "text": [ "Ballade No. 2 in F major" ], "char_spans": [ { "start": [ 179 ], "end": [ 202 ] } ], "token_spans": [ { "start": [ 33 ], "end": [ 39 ] } ] }
[ "Ballade No. 2 in F major" ]
SQuAD
Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.
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What other musician shows to have elements of Chopin in his work?
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[ "Liszt" ]
SQuAD
Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.
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Who dedicated his 1915 piano Études to Chopin?
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{ "text": [ "Debussy" ], "char_spans": [ { "start": [ 392 ], "end": [ 398 ] } ], "token_spans": [ { "start": [ 74 ], "end": [ 74 ] } ] }
[ "Debussy" ]
SQuAD
Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.
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For what publisher to Debussy edit Chopin's music for?
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{ "text": [ "Jacques Durand" ], "char_spans": [ { "start": [ 612 ], "end": [ 625 ] } ], "token_spans": [ { "start": [ 113 ], "end": [ 114 ] } ] }
[ "Jacques Durand" ]
SQuAD
Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.
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Who was a student of Chopin's former students and actually recorded some Chopin music?
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{ "text": [ "Raoul Koczalski" ], "char_spans": [ { "start": [ 197 ], "end": [ 211 ] } ], "token_spans": [ { "start": [ 40 ], "end": [ 41 ] } ] }
[ "Raoul Koczalski" ]
SQuAD
Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.
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c7c11faadda1421ab8f3fb5cce50d6b9
What music did Debussy play a lot at the Paris Conservatoire?
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{ "text": [ "Chopin's" ], "char_spans": [ { "start": [ 7 ], "end": [ 14 ] } ], "token_spans": [ { "start": [ 2 ], "end": [ 3 ] } ] }
[ "Chopin's" ]
SQuAD
The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet.
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dce93887ff8a414d8639af5e69f55d15
Who were Wang Jiawei and Nyima Gyaincain?
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{ "text": [ "Mainland Chinese scholars" ], "char_spans": [ { "start": [ 274 ], "end": [ 298 ] } ], "token_spans": [ { "start": [ 47 ], "end": [ 49 ] } ] }
[ "Mainland Chinese scholars" ]
SQuAD
Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.
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According to J. Barrie Jones who was the only true successor to Chopin?
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[ "Karol Szymanowski" ]
SQuAD
Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.
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4ba81adfa9a94d258d15b4ec3a662555
Many people were considered influenced by Chopin's what?
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{ "text": [ "national modes and idioms" ], "char_spans": [ { "start": [ 392 ], "end": [ 416 ] } ], "token_spans": [ { "start": [ 71 ], "end": [ 74 ] } ] }
[ "national modes and idioms" ]
SQuAD
Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.
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ea7ea44a1b6b4faeaeab4cf381e341e3
Who was Alexander Scriabin's teacher?
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{ "text": [ "Nikolai Zverev" ], "char_spans": [ { "start": [ 584 ], "end": [ 597 ] } ], "token_spans": [ { "start": [ 105 ], "end": [ 106 ] } ] }
[ "Nikolai Zverev" ]
SQuAD
Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.
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ae02a4c0a8e140deaf09ae6c057b8c3e
Who was Chopin's worthy successor according to Jones?
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{ "text": [ "Karol Szymanowski" ], "char_spans": [ { "start": [ 183 ], "end": [ 199 ] } ], "token_spans": [ { "start": [ 33 ], "end": [ 34 ] } ] }
[ "Karol Szymanowski" ]
SQuAD
Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.
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811f5a8152cb4836b5d4785d7e580b02
Who was devoted to the music of Chopin?
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{ "text": [ "Alexander Scriabin" ], "char_spans": [ { "start": [ 419 ], "end": [ 436 ] } ], "token_spans": [ { "start": [ 76 ], "end": [ 77 ] } ] }
[ "Alexander Scriabin" ]
SQuAD
Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.
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Who was Alexander Scriabin's teacher?
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{ "text": [ "Nikolai Zverev" ], "char_spans": [ { "start": [ 584 ], "end": [ 597 ] } ], "token_spans": [ { "start": [ 105 ], "end": [ 106 ] } ] }
[ "Nikolai Zverev" ]
SQuAD
During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).
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When did the Five Dynasties and Ten Kingdoms period of China take place?
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{ "text": [ "907–960" ], "char_spans": [ { "start": [ 60 ], "end": [ 66 ] } ], "token_spans": [ { "start": [ 11 ], "end": [ 11 ] } ] }
[ "907–960" ]
SQuAD
During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).
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When did the Song dynasty take place?
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{ "text": [ "960–1279" ], "char_spans": [ { "start": [ 318 ], "end": [ 325 ] } ], "token_spans": [ { "start": [ 61 ], "end": [ 61 ] } ] }
[ "960–1279" ]
SQuAD
During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).
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What dynasty was concerned with countering northern enemy states?
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{ "text": [ "Song dynasty" ], "char_spans": [ { "start": [ 304 ], "end": [ 315 ] } ], "token_spans": [ { "start": [ 58 ], "end": [ 59 ] } ] }
[ "Song dynasty" ]
SQuAD
During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).
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06896ca8af7e47baa106792c65796f11
Who ruled the Liao dynasty?
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{ "text": [ "the Khitan" ], "char_spans": [ { "start": [ 403 ], "end": [ 412 ] } ], "token_spans": [ { "start": [ 76 ], "end": [ 77 ] } ] }
[ "the Khitan" ]
SQuAD
During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).
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2a693f385394434c94cb742e0b0d95d0
Who ruled the Jin dynasty?
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{ "text": [ "Jurchen" ], "char_spans": [ { "start": [ 448 ], "end": [ 454 ] } ], "token_spans": [ { "start": [ 86 ], "end": [ 86 ] } ] }
[ "Jurchen" ]
SQuAD
Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.
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Who said that Chopin's familiarity with Polish music was more "urbanised" than true folk music?
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{ "text": [ "Barbara Milewski" ], "char_spans": [ { "start": [ 300 ], "end": [ 315 ] } ], "token_spans": [ { "start": [ 51 ], "end": [ 52 ] } ] }
[ "Barbara Milewski" ]
SQuAD
Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.
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6944c8b41d4b4d469a9c9782a2b6386e
George Golos references what two musicians when claiming Chopin's nationalism was overrated?
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{ "text": [ "Michał Kleofas Ogiński and Franciszek Lessel" ], "char_spans": [ { "start": [ 212 ], "end": [ 255 ] } ], "token_spans": [ { "start": [ 37 ], "end": [ 42 ] } ] }
[ "Michał Kleofas Ogiński and Franciszek Lessel" ]
SQuAD
Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.
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e85d7cf27aa84a6ab0b62922268d5748
Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?
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{ "text": [ "Richard Taruskin" ], "char_spans": [ { "start": [ 543 ], "end": [ 558 ] } ], "token_spans": [ { "start": [ 95 ], "end": [ 96 ] } ] }
[ "Richard Taruskin" ]
SQuAD
Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.
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Arthur Hutchings stated that Chopin's lack of what made him special?
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{ "text": [ "Byronic flamboyance" ], "char_spans": [ { "start": [ 716 ], "end": [ 734 ] } ], "token_spans": [ { "start": [ 130 ], "end": [ 131 ] } ] }
[ "Byronic flamboyance" ]
SQuAD
Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.
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13681f6b9ed74b9688b830219a5aba22
Who were two of Chopin's contemporaries?
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{ "text": [ "Liszt and Henri Herz" ], "char_spans": [ { "start": [ 838 ], "end": [ 857 ] } ], "token_spans": [ { "start": [ 149 ], "end": [ 152 ] } ] }
[ "Liszt and Henri Herz" ]
SQuAD
Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.
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4efea18da28f4392ac19963c242380d1
What place was considered lucky for Chopin to have arrived at considering how much he charged for piano lessons?
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{ "text": [ "Paris" ], "char_spans": [ { "start": [ 214 ], "end": [ 218 ] } ], "token_spans": [ { "start": [ 41 ], "end": [ 41 ] } ] }
[ "Paris" ]
SQuAD
Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.
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c8c9951126d94ec7902cfdb2006e8ae2
Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz?
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[ "Arthur Hutchings" ]
SQuAD
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
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df8a14e85a02494e8fffe2695ed26883
What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?
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{ "text": [ "the Barcarolle Op. 60" ], "char_spans": [ { "start": [ 154 ], "end": [ 174 ] } ], "token_spans": [ { "start": [ 30 ], "end": [ 34 ] } ] }
[ "the Barcarolle Op. 60" ]
SQuAD
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
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a72469bfa21945f989071ddff4ce7d89
What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?
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{ "text": [ "the four ballades and four scherzos" ], "char_spans": [ { "start": [ 87 ], "end": [ 121 ] } ], "token_spans": [ { "start": [ 16 ], "end": [ 21 ] } ] }
[ "the four ballades and four scherzos" ]
SQuAD
J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."
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d9651c0a6b9842e89e7077bfc5709f25
What form does Temperley feel that Chopin's ballades and scherzos are based on?
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{ "text": [ "departure and return" ], "char_spans": [ { "start": [ 426 ], "end": [ 445 ] } ], "token_spans": [ { "start": [ 82 ], "end": [ 84 ] } ] }
[ "departure and return" ]
SQuAD
In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.
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49e31580f0054431b44ca4e09ebf4387
What year was the Sakya viceregal regime eradicated?
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{ "text": [ "1358" ], "char_spans": [ { "start": [ 3 ], "end": [ 6 ] } ], "token_spans": [ { "start": [ 1 ], "end": [ 1 ] } ] }
[ "1358" ]
SQuAD
In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.
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7a0417563c44419f985658e331255ab8
Who placed the Sakya viceregal regime position of authority?
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{ "text": [ "the Mongols in Tibet" ], "char_spans": [ { "start": [ 49 ], "end": [ 68 ] } ], "token_spans": [ { "start": [ 9 ], "end": [ 12 ] } ] }
[ "the Mongols in Tibet" ]
SQuAD
In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.
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8eea54b98dea45f9843fdcf916c4913b
Who eradicated the Sakya viceregal regime?
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{ "text": [ "the Phagmodru myriarch Tai Situ Changchub Gyaltsen" ], "char_spans": [ { "start": [ 103 ], "end": [ 152 ] } ], "token_spans": [ { "start": [ 19 ], "end": [ 25 ] } ] }
[ "the Phagmodru myriarch Tai Situ Changchub Gyaltsen" ]
SQuAD
In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.
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9851b4107009468f8d2780fcda5e0e30
Which dynasty became ruler of Tibet?
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{ "text": [ "the Phagmodrupa Dynasty" ], "char_spans": [ { "start": [ 277 ], "end": [ 299 ] } ], "token_spans": [ { "start": [ 51 ], "end": [ 53 ] } ] }
[ "the Phagmodrupa Dynasty" ]
SQuAD
Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.
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4f8541ad3afc4ce5b294586c5d5fc608
Who believed that the Ming court had full sovereignty over Tibet?
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{ "text": [ "Wang and Nyima" ], "char_spans": [ { "start": [ 0 ], "end": [ 13 ] } ], "token_spans": [ { "start": [ 0 ], "end": [ 2 ] } ] }
[ "Wang and Nyima" ]
SQuAD
Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.
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9614d4ae88a147569c9e35f037764b97
What year did Wang and Nyima believe that the Mongol Prince Punala went to Nanjing?
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{ "text": [ "1371" ], "char_spans": [ { "start": [ 398 ], "end": [ 401 ] } ], "token_spans": [ { "start": [ 78 ], "end": [ 78 ] } ] }
[ "1371" ]
SQuAD
Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.
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0be79622f36f4fe9916b09cea873af04
What did the lamas called themselves?
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{ "text": [ "princes" ], "char_spans": [ { "start": [ 691 ], "end": [ 697 ] } ], "token_spans": [ { "start": [ 136 ], "end": [ 136 ] } ] }
[ "princes" ]
SQuAD
Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.
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c268ec099dbc49ac9f0b736f46efa4c6
What edicts did the Ming issue?
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[ "imperial edicts" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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682f52bca50a463487466c37d82d98ef
Chopin was noted as introducing music to what?
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{ "text": [ "sense of nationalism" ], "char_spans": [ { "start": [ 91 ], "end": [ 110 ] } ], "token_spans": [ { "start": [ 16 ], "end": [ 18 ] } ] }
[ "sense of nationalism" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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2bba7b46bbaf41128f5ca180bb4615c1
What year did Schumann review Chopin's piano concertos?
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{ "text": [ "1836" ], "char_spans": [ { "start": [ 130 ], "end": [ 133 ] } ], "token_spans": [ { "start": [ 24 ], "end": [ 24 ] } ] }
[ "1836" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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e184279e5e4745e9a5b1fbbd86089348
In his review Schumann made note of Chopin's emotions for what?
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{ "text": [ "Poland" ], "char_spans": [ { "start": [ 224 ], "end": [ 229 ] } ], "token_spans": [ { "start": [ 40 ], "end": [ 40 ] } ] }
[ "Poland" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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75bfaaac8fa44b01add30fea4a948b7d
Why did Schumann say the Poles were in mourning?
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{ "text": [ "the failure of the November 1830" ], "char_spans": [ { "start": [ 293 ], "end": [ 324 ] } ], "token_spans": [ { "start": [ 55 ], "end": [ 60 ] } ] }
[ "the failure of the November 1830" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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11218391a73b4436b34717b4ec3e2322
A biography on Chopin released under Franz Liszt's name was likely written by who?
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{ "text": [ "Carolyne zu Sayn-Wittgenstein" ], "char_spans": [ { "start": [ 730 ], "end": [ 758 ] } ], "token_spans": [ { "start": [ 146 ], "end": [ 150 ] } ] }
[ "Carolyne zu Sayn-Wittgenstein" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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663a9ecb523f47be9f6a2ff44a52c833
Chopin was able to bring about a new sense of nationalism with his music because of his mazurkas and what?
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{ "text": [ "polonaises" ], "char_spans": [ { "start": [ 22 ], "end": [ 31 ] } ], "token_spans": [ { "start": [ 4 ], "end": [ 4 ] } ] }
[ "polonaises" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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bfd5386bd5d840cb99a212db112a3360
Who wrote a glowing review of Chopin's love for his country through his music in 1836?
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[ "Schumann" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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efad97e890a647e0bff65ff860ddecab
Schumann described Chopin's music as cannons buried in what?
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{ "text": [ "flowers" ], "char_spans": [ { "start": [ 623 ], "end": [ 629 ] } ], "token_spans": [ { "start": [ 125 ], "end": [ 125 ] } ] }
[ "flowers" ]
SQuAD
With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."
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99dcfcde92484b99b70cc2777ae0d137
Though Franz Liszt is credited with Chopin's 1863 biography, who probably actually wrote it?
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{ "text": [ "Carolyne zu Sayn-Wittgenstein" ], "char_spans": [ { "start": [ 730 ], "end": [ 758 ] } ], "token_spans": [ { "start": [ 146 ], "end": [ 150 ] } ] }
[ "Carolyne zu Sayn-Wittgenstein" ]
SQuAD
The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.
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edcdeeace97742d18f8dbb9566a4fac0
What did the Tibetans use against Ming forays?
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{ "text": [ "armed resistance" ], "char_spans": [ { "start": [ 158 ], "end": [ 173 ] } ], "token_spans": [ { "start": [ 27 ], "end": [ 28 ] } ] }
[ "armed resistance" ]
SQuAD
The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.
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75437470d02d44e2b34be495e864ec44
Who were the armed protectors for the Gelug Dalai Lama?
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{ "text": [ "the Mongols" ], "char_spans": [ { "start": [ 503 ], "end": [ 513 ] } ], "token_spans": [ { "start": [ 91 ], "end": [ 92 ] } ] }
[ "the Mongols" ]
SQuAD
The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.
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92f7f65fee154508a2d42fc621cc1217
Which regime did Güshi Khan help establish?
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{ "text": [ "the Ganden Phodrang" ], "char_spans": [ { "start": [ 727 ], "end": [ 745 ] } ], "token_spans": [ { "start": [ 130 ], "end": [ 132 ] } ] }
[ "the Ganden Phodrang" ]
SQuAD
The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.
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2da75c9461204761a25ef3e6007d084b
When was the Mongol-Tibetan alliance started?
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[ "1578" ]
SQuAD
As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.
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0e568d0b0b804d3bb547d4b852c89870
Who was the fourth Karmapa Lama?
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{ "text": [ "Rolpe Dorje" ], "char_spans": [ { "start": [ 139 ], "end": [ 149 ] } ], "token_spans": [ { "start": [ 27 ], "end": [ 28 ] } ] }
[ "Rolpe Dorje" ]
SQuAD
As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.
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eee3cbce936547ac8addd40cbb30db20
Who rejected an invitation by the Hongwu Emperor?
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[ "Rolpe Dorje" ]
SQuAD
As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.
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005e187fb4f845559c683422971ad649
What did the the Hongwu Emperor want to continue to promote?
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{ "text": [ "the Buddhist link between Tibet and China" ], "char_spans": [ { "start": [ 72 ], "end": [ 112 ] } ], "token_spans": [ { "start": [ 14 ], "end": [ 20 ] } ] }
[ "the Buddhist link between Tibet and China" ]
SQuAD
As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.
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4dfeaa95998644578e3ec69d7800ba4c
Who did Rolpe Dorje send as envoys to court in Nanjing?
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{ "text": [ "disciples" ], "char_spans": [ { "start": [ 249 ], "end": [ 257 ] } ], "token_spans": [ { "start": [ 48 ], "end": [ 48 ] } ] }
[ "disciples" ]
SQuAD
However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet."
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5c449db7766a46cf87cdbc5986f4fe74
Who created a law that did not allow Han Chinese to learn the beliefs of Tibetan Buddhism?
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{ "text": [ "Ming government" ], "char_spans": [ { "start": [ 19 ], "end": [ 33 ] } ], "token_spans": [ { "start": [ 4 ], "end": [ 5 ] } ] }
[ "Ming government" ]
SQuAD
However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet."
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a9a557d09d644dbc8cd5c1dead8b8e3e
What years did the Yongle Emperor reign?
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{ "text": [ "1402–1424" ], "char_spans": [ { "start": [ 372 ], "end": [ 380 ] } ], "token_spans": [ { "start": [ 67 ], "end": [ 67 ] } ] }
[ "1402–1424" ]
SQuAD
However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet."
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7343f2eb2e6b40e2a547c05bb14b9c46
Who worked towards obtaining a extension of relations with Tibet?
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{ "text": [ "the Yongle Emperor" ], "char_spans": [ { "start": [ 349 ], "end": [ 366 ] } ], "token_spans": [ { "start": [ 62 ], "end": [ 64 ] } ] }
[ "the Yongle Emperor" ]
SQuAD
The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.
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13782ac870134deab7a797dc2ef9205a
Who was the Mongol prince?
{ "tokens": [ "Who", "was", "the", "Mongol", "prince", "?" ], "offsets": [ 0, 4, 8, 12, 19, 25 ] }
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[ "Godan" ]
SQuAD
The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.
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9c6f747630c14539b1c9c21bc2c9b111
Who was the leader of the Sakya school of Tibetan Buddhism?
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{ "text": [ "Sakya Pandita" ], "char_spans": [ { "start": [ 126 ], "end": [ 138 ] } ], "token_spans": [ { "start": [ 26 ], "end": [ 27 ] } ] }
[ "Sakya Pandita" ]
SQuAD
The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.
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Who was the regent of the Mongol Empire?
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{ "text": [ "Töregene Khatun" ], "char_spans": [ { "start": [ 382 ], "end": [ 396 ] } ], "token_spans": [ { "start": [ 75 ], "end": [ 76 ] } ] }
[ "Töregene Khatun" ]
SQuAD
The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.
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5cf5a666a73743b4833527ff64d281fa
In what years was Töregene Khatun the regent of the Mongol Empire?
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{ "text": [ "1241–1246" ], "char_spans": [ { "start": [ 399 ], "end": [ 407 ] } ], "token_spans": [ { "start": [ 78 ], "end": [ 78 ] } ] }
[ "1241–1246" ]
SQuAD
Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.
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29c9b830ec6b445a814de85d8aa91b76
How many states were ruled by myriarchies?
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{ "text": [ "thirteen" ], "char_spans": [ { "start": [ 815 ], "end": [ 822 ] } ], "token_spans": [ { "start": [ 148 ], "end": [ 148 ] } ] }
[ "thirteen" ]
SQuAD
Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.
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b6e86ba6154e4b1fa225bbd3decbbbbe
What title did prince Kublai rule as from 1260 to 1294?
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{ "text": [ "Khagan" ], "char_spans": [ { "start": [ 63 ], "end": [ 68 ] } ], "token_spans": [ { "start": [ 13 ], "end": [ 13 ] } ] }
[ "Khagan" ]
SQuAD
Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.
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def2cab917d34773869501c8f2b83acb
Who was the superior of prince Kublai?
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{ "text": [ "Ögedei Khan" ], "char_spans": [ { "start": [ 147 ], "end": [ 157 ] } ], "token_spans": [ { "start": [ 29 ], "end": [ 30 ] } ] }
[ "Ögedei Khan" ]
SQuAD
Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.
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80f4ee44a0e24029915d4083d6e7ef31
Who became the second Karmapa Lama?
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{ "text": [ "Karma Pakshi" ], "char_spans": [ { "start": [ 160 ], "end": [ 171 ] } ], "token_spans": [ { "start": [ 32 ], "end": [ 33 ] } ] }
[ "Karma Pakshi" ]
SQuAD
Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.
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ae9ff76a0b394b92809688f7a0355504
With whom did Kublai Khan have a unique relationship with?
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{ "text": [ "the Phagpa lama" ], "char_spans": [ { "start": [ 470 ], "end": [ 484 ] } ], "token_spans": [ { "start": [ 88 ], "end": [ 90 ] } ] }
[ "the Phagpa lama" ]
SQuAD
The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.
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fe53c3f87a8f4fce86ccac120a929ab0
How many movements are No. 2, Op. 35 and No. 3, Op 58 in?
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[ "four" ]
SQuAD
The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.
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6e27ac6333f34bf39ea44a098013389d
What two people claimed that Op 58 was "worthy of Brahms"?
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{ "text": [ "Kornel Michałowski and Jim Samson" ], "char_spans": [ { "start": [ 693 ], "end": [ 725 ] } ], "token_spans": [ { "start": [ 138 ], "end": [ 142 ] } ] }
[ "Kornel Michałowski and Jim Samson" ]
SQuAD
The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.
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0944c12c0e2f4690a5d96e3a0ca51636
How many movements are in No. 2, Op. 35 and No. 3, Op 58?
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[ "four" ]
SQuAD
The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.
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5614ee0401454c408a4a1b29b2b2533f
Which movement was found lacking in musicality by Schumann?
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{ "text": [ "The last movement" ], "char_spans": [ { "start": [ 349 ], "end": [ 365 ] } ], "token_spans": [ { "start": [ 76 ], "end": [ 78 ] } ] }
[ "The last movement" ]
SQuAD
The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.
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According to music historians, which sonata is similar to German tradition and worthy of Brahms?
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[ "Op. 58" ]
SQuAD
The Ming court appointed three Princes of Dharma (法王) and five Princes (王), and granted many other titles, such as Grand State Tutors (大國師) and State Tutors (國師), to the important schools of Tibetan Buddhism, including the Karma Kagyu, Sakya, and Gelug. According to Wang Jiawei and Nyima Gyaincain, leading officials of these organs were all appointed by the central government and were subject to the rule of law. Yet Van Praag describes the distinct and long-lasting Tibetan law code established by the Phagmodru ruler Tai Situ Changchub Gyaltsen as one of many reforms to revive old Imperial Tibetan traditions.
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How many princes of Dharma were assigned by the Ming court?
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[ "three" ]
SQuAD
The Ming court appointed three Princes of Dharma (法王) and five Princes (王), and granted many other titles, such as Grand State Tutors (大國師) and State Tutors (國師), to the important schools of Tibetan Buddhism, including the Karma Kagyu, Sakya, and Gelug. According to Wang Jiawei and Nyima Gyaincain, leading officials of these organs were all appointed by the central government and were subject to the rule of law. Yet Van Praag describes the distinct and long-lasting Tibetan law code established by the Phagmodru ruler Tai Situ Changchub Gyaltsen as one of many reforms to revive old Imperial Tibetan traditions.
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Who established the Tibetan law code?
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{ "text": [ "Tai Situ Changchub Gyaltsen" ], "char_spans": [ { "start": [ 522 ], "end": [ 548 ] } ], "token_spans": [ { "start": [ 104 ], "end": [ 107 ] } ] }
[ "Tai Situ Changchub Gyaltsen" ]
SQuAD
The Ming court appointed three Princes of Dharma (法王) and five Princes (王), and granted many other titles, such as Grand State Tutors (大國師) and State Tutors (國師), to the important schools of Tibetan Buddhism, including the Karma Kagyu, Sakya, and Gelug. According to Wang Jiawei and Nyima Gyaincain, leading officials of these organs were all appointed by the central government and were subject to the rule of law. Yet Van Praag describes the distinct and long-lasting Tibetan law code established by the Phagmodru ruler Tai Situ Changchub Gyaltsen as one of many reforms to revive old Imperial Tibetan traditions.
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Who was the Phagmodru ruler?
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[ "Tai Situ Changchub Gyaltsen" ]
SQuAD
In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.
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f2577ed17e8748e88f244f0634614269
Who created the Ming Dynasty?
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{ "text": [ "Zhu Yuanzhang" ], "char_spans": [ { "start": [ 106 ], "end": [ 118 ] } ], "token_spans": [ { "start": [ 21 ], "end": [ 22 ] } ] }
[ "Zhu Yuanzhang" ]
SQuAD
In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.
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eb04f8ee7d4a4ceeab23ce58d92214c9
Who caused the Yuan dynasty to fall?
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[ "the Red Turban Rebellion" ]
SQuAD
In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.
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Who ruled as the the Hongwu Emperor?
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{ "text": [ "Zhu Yuanzhang" ], "char_spans": [ { "start": [ 106 ], "end": [ 118 ] } ], "token_spans": [ { "start": [ 21 ], "end": [ 22 ] } ] }
[ "Zhu Yuanzhang" ]