Question: What can solo performers exhibit during a cadenza?

Answer: their virtuoso skills on the instrument

Improvisation once played an important role in classical music. <hl> A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument . <hl> Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit <hl> their virtuoso skills on the instrument <hl>. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit <hl> their virtuoso skills on the instrument <hl> .


Question: What type of performances of Baroque ear Operas require improvisation?

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

Answer: authentic performances

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. <hl> Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). <hl> An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in <hl> authentic performances <hl> of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare.


Question: An example of improvisation in an opera is Beverly Sills variation of what movement of Handel's Giulio Cesare?

Answer: Da tempeste il legno infranto

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). <hl> An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare. <hl>

Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of <hl> Da tempeste il legno infranto <hl> from Händel's Giulio Cesare.


Question: How are staples of classical music often used?

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

Answer: commercially

<hl> Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). <hl> In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

Certain staples of classical music are often used <hl> commercially <hl> (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.


Question: TV commercials using Richard Strauss' Also sprach Zarathustra have now become what?

Answer: clichéd

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). <hl> In television commercials, several passages have become clichéd , particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. <hl>

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become <hl> clichéd <hl>, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

In television commercials, several passages have become <hl> clichéd <hl> , particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.


Question: What piece is often used in the horror genre?

Answer: "O Fortuna" of Carl Orff's Carmina Burana

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: <hl> A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana , often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. <hl>

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section <hl> "O Fortuna" of Carl Orff's Carmina Burana <hl>, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

A Space Odyssey) and the opening section <hl> "O Fortuna" of Carl Orff's Carmina Burana <hl> , often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.


Question: Who wrote Ride of the Valkyries?

Answer: Wagner

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: <hl> A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner 's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. <hl>

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, <hl> Wagner <hl>'s Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, <hl> Wagner <hl> 's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.


Question: Who wrote in the Hall of the Mountain King?

Answer: Edvard Grieg

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: <hl> A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg 's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo. <hl>

Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, <hl> Edvard Grieg <hl>'s In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.

A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, <hl> Edvard Grieg <hl> 's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walküre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.


Question: Folk musicians are not commonly what?

Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Answer: classically trained

<hl> Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained , often from a purely oral tradition). <hl> Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Composers of classical music have often made use of folk music (music created by musicians who are commonly not <hl> classically trained <hl>, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Composers of classical music have often made use of folk music (music created by musicians who are commonly not <hl> classically trained <hl> , often from a purely oral tradition).


Question: What music comes from those commonly trained by oral tradition?

Answer: folk music

<hl> Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). <hl> Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Composers of classical music have often made use of <hl> folk music <hl> (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.


Question: Dovrak has used what type of themes to impart a nationalist flavor?

Answer: folk

<hl> Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). <hl> Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.

Composers of classical music have often made use of <hl> folk <hl> music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.


Question: Who used specific themes lifted from folk-music?

Answer: Bartók

Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). <hl> Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins. <hl>

Composers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvořák and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like <hl> Bartók <hl> have used specific themes lifted whole from their folk-music origins.


Question: How are performers expected to play a work due to written transmission?

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Answer: in a way that realizes in detail the original intentions of the composer

<hl> Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer . <hl> During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work <hl> in a way that realizes in detail the original intentions of the composer <hl>. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work <hl> in a way that realizes in detail the original intentions of the composer <hl> .


Question: When did details that composers put in their scores increase?

Answer: the 19th century

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. <hl> During the 19th century the details that composers put in their scores generally increased. <hl> Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During <hl> the 19th century <hl> the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.


Question: Admiration of performers for new interpretations can be seen when composers feel the performer achieve what?

Answer: a better realization of the original intent than the composer

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. <hl> Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. <hl> Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving <hl> a better realization of the original intent than the composer <hl> was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.


Question: What do classical performers often achieve?

Answer: high reputations for their musicianship

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. <hl> Thus, classical performers often achieve high reputations for their musicianship , even if they do not compose themselves. <hl> Generally however, it is the composers who are remembered more than the performers.

Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve <hl> high reputations for their musicianship <hl>, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.

Thus, classical performers often achieve <hl> high reputations for their musicianship <hl> , even if they do not compose themselves.


Question: When was improvisation in classical music performance common?

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Answer: the Baroque and early romantic eras

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. <hl> Improvisation in classical music performance was common during both the Baroque and early romantic eras , yet lessened strongly during the second half of the 19th and in the 20th centuries. <hl> During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both <hl> the Baroque and early romantic eras <hl>, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Improvisation in classical music performance was common during both <hl> the Baroque and early romantic eras <hl> , yet lessened strongly during the second half of the 19th and in the 20th centuries.


Question: When did improvisation begin to lessened strongly?

Answer: the second half of the 19th and in the 20th centuries

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. <hl> Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries . <hl> During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during <hl> the second half of the 19th and in the 20th centuries <hl>. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during <hl> the second half of the 19th and in the 20th centuries <hl> .


Question: What part did Mozart and Beethoven often improvise?

Answer: the cadenzas to their piano concertos

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. <hl> During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. <hl> In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised <hl> the cadenzas to their piano concertos <hl> (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.


Question: What is the name for the practice of singing strictly by the score in opera?

Answer: come scritto

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. <hl> come scritto , was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. <hl>

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. <hl> come scritto <hl>, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

<hl> come scritto <hl> , was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.


Question: Who strongly supposed ome scritto?

Answer: soprano Maria Callas

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. <hl> In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas , who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time. <hl>

The primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by <hl> soprano Maria Callas <hl>, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.

In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by <hl> soprano Maria Callas <hl> , who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.


Question: Popular music from the composer's time was incorporation into what?

Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Answer: Classical music

<hl> Classical music has often incorporated elements or material from popular music of the composer's time. <hl> Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

<hl> Classical music <hl> has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.


Question: What did Brahms sometimes use in his Academic Festival Overture?

Answer: student drinking songs

Classical music has often incorporated elements or material from popular music of the composer's time. <hl> Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. <hl> Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of <hl> student drinking songs <hl> in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.


Question: What type of music was Maurice Ravel influenced by?

Answer: jazz

Classical music has often incorporated elements or material from popular music of the composer's time. <hl> Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. <hl> Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of <hl> jazz <hl> on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.


Question: Who wrote The Threepenny Opera?

Answer: Kurt Weill

Classical music has often incorporated elements or material from popular music of the composer's time. <hl> Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill 's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. <hl> Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Classical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by <hl> Kurt Weill <hl>'s The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by <hl> Kurt Weill <hl> 's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano.


Question: What type of music do certain composers acknowledge a debt to?

Answer: popular

<hl> Classical music has often incorporated elements or material from popular music of the composer's time. <hl> Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.

Classical music has often incorporated elements or material from <hl> popular <hl> music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.


Question: Pachelbel's Canon has influenced popular songs since what decade?

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Answer: the 1970s

<hl> Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s , and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. <hl> In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since <hl> the 1970s <hl>, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since <hl> the 1970s <hl> , and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena.


Question: What phenomenon sees classical musicians achieving success in popular music?

Answer: the musical crossover phenomenon

<hl> Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon , where classical musicians have achieved success in the popular music arena. <hl> In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and <hl> the musical crossover phenomenon <hl>, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and <hl> the musical crossover phenomenon <hl> , where classical musicians have achieved success in the popular music arena.


Question: Baroque or Classical era influence can be seen in what modern musical style?

Answer: heavy metal

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. <hl> In heavy metal , a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads. <hl>

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In <hl> heavy metal <hl>, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

In <hl> heavy metal <hl> , a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.


Question: Ritchie Blackmore and Randy Rhoads play what instrument?

Answer: electric guitar

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. <hl> In heavy metal, a number of lead guitarists (playing electric guitar ) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads. <hl>

Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing <hl> electric guitar <hl>) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.

In heavy metal, a number of lead guitarists (playing <hl> electric guitar <hl> ) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.


Question: What is the largest Indo-European ethno-linguistic group in Europe?

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.

Answer: Slavs are the largest Indo-European ethno-linguistic group in Europe.

<hl> Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. <hl> Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.

<hl> Slavs are the largest Indo-European ethno-linguistic group in Europe. <hl> They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.


Question: What areas of the world do Slavs inhabit?

Answer: They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia.

Slavs are the largest Indo-European ethno-linguistic group in Europe. <hl> They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. <hl> From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.

Slavs are the largest Indo-European ethno-linguistic group in Europe. <hl> They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. <hl> Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.


Question: What was colonised by the East Slavs?

Answer: The East Slavs colonised Siberia and Central Asia.

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. <hl> The East Slavs colonised Siberia and Central Asia. [better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. <hl>

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. <hl> The East Slavs colonised Siberia and Central Asia. <hl>[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.

<hl> The East Slavs colonised Siberia and Central Asia. <hl> [better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.


Question: What portion of Europe's territory is inhabited by Slavic-speaking communities?

Answer: Presently over half of Europe's territory is inhabited by Slavic-speaking communities

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. <hl> The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities , but every Slavic ethnicity has emigrated to other continents. <hl>

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] <hl> Presently over half of Europe's territory is inhabited by Slavic-speaking communities <hl>, but every Slavic ethnicity has emigrated to other continents.

The East Slavs colonised Siberia and Central Asia.[better source needed] <hl> Presently over half of Europe's territory is inhabited by Slavic-speaking communities <hl> , but every Slavic ethnicity has emigrated to other continents.


Question: Slavic mercenaries settled where?

Answer: Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria.

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. <hl> From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents. <hl>

Slavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst <hl> Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. <hl> The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.


Question: West Slavic people consist of which nationalities?

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Answer: Poles, Czechs and Slovaks

<hl> Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks ), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. <hl> For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly <hl> Poles, Czechs and Slovaks <hl>), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly <hl> Poles, Czechs and Slovaks <hl> ), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs.


Question: East Slavic people consist of which nationalities?

Answer: Russians, Belarusians, and Ukrainians

<hl> Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians ), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. <hl> For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly <hl> Russians, Belarusians, and Ukrainians <hl>), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly <hl> Russians, Belarusians, and Ukrainians <hl> ), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs.


Question: South Slavic people consist of which nationalities?

Answer: Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins

<hl> Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins ), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. <hl> For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly <hl> Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins <hl>), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly <hl> Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins <hl> ), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs.


Question: West and East Slavs are sometimes combined into a single group called what?

Answer: North Slavs

<hl> Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs . <hl> For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as <hl> North Slavs <hl>. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them – even within the individual ethnic groups themselves – are varied, ranging from a sense of connection to mutual feelings of hostility.

Present-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as <hl> North Slavs <hl> .


Question: *Slověninъ, plural *Slověne, is the Slavic autonym reconstructed in what?

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.

Answer: Proto-Slavic

<hl> The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. <hl> The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.

The Slavic autonym is reconstructed in <hl> Proto-Slavic <hl> as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.


Question: Old 9th century documents describing Slavs were written in what language?

Answer: Old Church Slavonic

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. <hl> The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. <hl> Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in <hl> Old Church Slavonic <hl> and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.


Question: Who wrote about the Slavs in Byzantine Greek in the 6th century?

Answer: Procopius

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. <hl> In the 6th century AD Procopius , writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin. <hl>

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD <hl> Procopius <hl>, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.

In the 6th century AD <hl> Procopius <hl> , writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin.


Question: Procopius' contemporary Jordanes referred to the Slavs in what language?

Answer: Latin

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. <hl> In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in Latin . <hl>

The Slavic autonym is reconstructed in Proto-Slavic as *Slověninъ, plural *Slověne. The oldest documents written in Old Church Slavonic and dating from the 9th century attest Словѣне Slověne to describe the Slavs. Other early Slavic attestations include Old East Slavic Словѣнѣ Slověně for "an East Slavic group near Novgorod." However, the earliest written references to the Slavs under this name are in other languages. In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in <hl> Latin <hl>.

In the 6th century AD Procopius, writing in Byzantine Greek, refers to the Σκλάβοι Sklaboi, Σκλαβηνοί Sklabēnoi, Σκλαυηνοί Sklauenoi, Σθλαβηνοί Sthlabenoi, or Σκλαβῖνοι Sklabinoi, while his contemporary Jordanes refers to the Sclaveni in <hl> Latin <hl> .


Question: What slavic word denotes "people who speak the same language?"

Answer: slovo

<hl> The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute"). <hl>

The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from <hl> slovo <hl> "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").


Question: What slavic word denotes "foreign people?"

Answer: němci

<hl> The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci , meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute"). <hl>

The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – <hl> němci <hl>, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").

The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – <hl> němci <hl> , meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").


Question: Who considered *Slověninъ do be a derivation from slovo?

Answer: Roman Jakobson

<hl> The Slavic autonym *Slověninъ is usually considered (e.g. by Roman Jakobson ) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute"). <hl>

The Slavic autonym *Slověninъ is usually considered (e.g. by <hl> Roman Jakobson <hl>) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").

The Slavic autonym *Slověninъ is usually considered (e.g. by <hl> Roman Jakobson <hl> ) a derivation from slovo "word", originally denoting "people who speak (the same language)," i.e. people who understand each other, in contrast to the Slavic word denoting "foreign people" – němci, meaning "mumbling, murmuring people" (from Slavic *němъ – "mumbling, mute").


Question: Slovo, slava, and slukh all originate from what Proto-Indo-European root?

The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.

Answer: *ḱlew

<hl> The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew - ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud. <hl>

The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root <hl> *ḱlew <hl>- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.

The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root <hl> *ḱlew <hl> - ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.


Question: The Ancient Greek κλῆς (klês - "famous") helped create what famous name?

Answer: Pericles

<hl> The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles , and Latin clueo ("be called"), and English loud. <hl>

The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name <hl> Pericles <hl>, and Latin clueo ("be called"), and English loud.

The word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name <hl> Pericles <hl> , and Latin clueo ("be called"), and English loud.


Question: What three words originated from the Proto-Indo-European root *ḱlew- ("be spoken of, fame")?

Answer: he word slovo ("word") and the related slava ("fame") and slukh ("hearing")

<hl> T he word slovo ("word") and the related slava ("fame") and slukh ("hearing") originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud. <hl>

T<hl> he word slovo ("word") and the related slava ("fame") and slukh ("hearing") <hl> originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.

T <hl> he word slovo ("word") and the related slava ("fame") and slukh ("hearing") <hl> originate from the Proto-Indo-European root *ḱlew- ("be spoken of, fame"), cognate with Ancient Greek κλῆς (klês - "famous"), whence the name Pericles, and Latin clueo ("be called"), and English loud.


Question: The word Slav could be derived from what Middle English word?

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

Answer: sclave

<hl> The English word Slav could be derived from the Middle English word sclave , which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). <hl> The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

The English word Slav could be derived from the Middle English word <hl> sclave <hl>, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

The English word Slav could be derived from the Middle English word <hl> sclave <hl> , which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages).


Question: The origin of what Byzantine term is disputed?

Answer: Sklavinoi

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). <hl> The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. <hl> Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term <hl> Sklavinoi <hl> was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.


Question: The Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from what?

Answer: misunderstanding of the Slavic autonym

<hl> The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). <hl> The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a <hl> misunderstanding of the Slavic autonym <hl> (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by medieval Arab historiographers. However, the origin of this word is disputed.


Question: The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba by who?

Answer: medieval Arab historiographers

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. <hl> Saqlabi صقلبي) by medieval Arab historiographers . <hl> However, the origin of this word is disputed.

The English word Slav could be derived from the Middle English word sclave, which was borrowed from Medieval Latin sclavus or slavus, itself a borrowing and Byzantine Greek σκλάβος sklábos "slave," which was in turn apparently derived from a misunderstanding of the Slavic autonym (denoting a speaker of their own languages). The Byzantine term Sklavinoi was loaned into Arabic as Saqaliba صقالبة (sing. Saqlabi صقلبي) by <hl> medieval Arab historiographers <hl>. However, the origin of this word is disputed.

Saqlabi صقلبي) by <hl> medieval Arab historiographers <hl> .


Question: Who argues that the word *slava once had the meaning of worshipper?

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Answer: Lozinski

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. <hl> Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. <hl> S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. <hl> Lozinski <hl> argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.


Question: Who speculates that *slava derives from a reconstructed Proto-Indo-European *(s)lawos?

Answer: S.B. Bernstein

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. <hl> S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. <hl> Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. <hl> S.B. Bernstein <hl> speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.


Question: The suffix -enin indicates what?

Answer: a man from a certain place

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. <hl> Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place , which in this case should be a place called Slova or Slava, possibly a river name. <hl> The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates <hl> a man from a certain place <hl>, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene.

Meanwhile, others have pointed out that the suffix -enin indicates <hl> a man from a certain place <hl> , which in this case should be a place called Slova or Slava, possibly a river name.


Question: Who argued that the Old East Slavic Slavuta for the Dnieper River was derived from slova?

Answer: Henrich Bartek

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. <hl> The Old East Slavic Slavuta for the Dnieper River was argued by Henrich Bartek (1907–1986) to be derived from slova and also the origin of Slovene. <hl>

Alternative proposals for the etymology of *Slověninъ propounded by some scholars have much less support. Lozinski argues that the word *slava once had the meaning of worshipper, in this context meaning "practicer of a common Slavic religion," and from that evolved into an ethnonym. S.B. Bernstein speculates that it derives from a reconstructed Proto-Indo-European *(s)lawos, cognate to Ancient Greek λαός laós "population, people," which itself has no commonly accepted etymology. Meanwhile, others have pointed out that the suffix -enin indicates a man from a certain place, which in this case should be a place called Slova or Slava, possibly a river name. The Old East Slavic Slavuta for the Dnieper River was argued by <hl> Henrich Bartek <hl> (1907–1986) to be derived from slova and also the origin of Slovene.


Question: The earliest mentions of Slavic raids are across what river?

Answer: River Danube

<hl> The earliest mentions of Slavic raids across the lower River Danube may be dated to the first half of the 6th century, yet no archaeological evidence of a Slavic settlement in the Balkans could be securely dated before c. 600 AD. <hl>

The earliest mentions of Slavic raids across the lower <hl> River Danube <hl> may be dated to the first half of the 6th century, yet no archaeological evidence of a Slavic settlement in the Balkans could be securely dated before c. 600 AD.


Question: The earliest mentions of what may be dated to the first half of the 6th century?

Answer: Slavic raids

<hl> The earliest mentions of Slavic raids across the lower River Danube may be dated to the first half of the 6th century, yet no archaeological evidence of a Slavic settlement in the Balkans could be securely dated before c. 600 AD. <hl>

The earliest mentions of <hl> Slavic raids <hl> across the lower River Danube may be dated to the first half of the 6th century, yet no archaeological evidence of a Slavic settlement in the Balkans could be securely dated before c. 600 AD.