Answer: accent

Question: If only the pronunciation differs from the standard language, what term is sometimes used?


Answer: jargons

Context: A dialect is distinguished by its vocabulary, grammar, and pronunciation (phonology, including prosody). Where a distinction can be made only in terms of pronunciation (including prosody, or just prosody itself), the term accent may be preferred over dialect. Other types of speech varieties include jargons, which are characterized by differences in lexicon (vocabulary); slang; patois; pidgins; and argots.

Question: What term is sometimes used for dialects that only differ in vocabulary?


Answer: argots

Question: Along with slangs, patois and pidgins, what is another type of smiilar speech variety?


Answer: standard language

Context: A standard dialect (also known as a standardized dialect or "standard language") is a dialect that is supported by institutions. Such institutional support may include government recognition or designation; presentation as being the "correct" form of a language in schools; published grammars, dictionaries, and textbooks that set forth a correct spoken and written form; and an extensive formal literature that employs that dialect (prose, poetry, non-fiction, etc.). There may be multiple standard dialects associated with a single language. For example, Standard American English, Standard British English, Standard Canadian English, Standard Indian English, Standard Australian English, and Standard Philippine English may all be said to be standard dialects of the English language.

Question: What is another term for a standard or standardized dialect?


Answer: institutions

Question: The support of what groups results in a dialect being standardized?


Answer: textbooks

Question: Along with grammars and dictionaries, what publications help a dialect to become standardized?


Answer: English

Question: Standard Philippine English is a standard dialect of of what language?


Answer: government

Question: Recognition from what body may help a dialect to become standardized?


Answer: institutional support

Context: A nonstandard dialect, like a standard dialect, has a complete vocabulary, grammar, and syntax, but is usually not the beneficiary of institutional support. Examples of a nonstandard English dialect are Southern American English, Western Australian English, Scouse and Tyke. The Dialect Test was designed by Joseph Wright to compare different English dialects with each other.

Question: What does a nonstandard dialect usually not have compared to a standard dialect?


Answer: English

Question: What language is Scouse a dialect of?


Answer: The Dialect Test

Question: What was created for the sake of comparing English dialects?


Answer: Joseph Wright

Question: Who came up with the Dialect Test?


Answer: vocabulary

Question: Along with a syntax and grammar, what attribute does a dialect possess?


Answer: Costa Rica

Context: There is no universally accepted criterion for distinguishing two different languages from two dialects (i.e. varieties) of the same language. A number of rough measures exist, sometimes leading to contradictory results. The distinction is therefore subjective and depends on the user's frame of reference. For example, there is discussion about if the Limón Creole English must be considered as "a kind" of English or a different language. This creole is spoken in the Caribbean coast of Costa Rica (Central America) by descendant of Jamaican people. The position that Costa Rican linguists support depends on the University they belong.

Question: In what country is Limón Creole English spoken?


Answer: Caribbean

Question: On what coast of Costa Rica is Limón Creole English spoken?


Answer: Jamaican

Question: Speakers of Limón Creole English are descended from people of what nationality?


Answer: mutual intelligibility

Context: The most common, and most purely linguistic, criterion is that of mutual intelligibility: two varieties are said to be dialects of the same language if being a speaker of one variety confers sufficient knowledge to understand and be understood by a speaker of the other; otherwise, they are said to be different languages. However, this definition becomes problematic in the case of dialect continua, in which it may be the case that dialect B is mutually intelligible with both dialect A and dialect C but dialects A and C are not mutually intelligible with each other. In this case the criterion of mutual intelligibility makes it impossible to decide whether A and C are dialects of the same language or not. Cases may also arise in which a speaker of dialect X can understand a speaker of dialect Y, but not vice versa; the mutual intelligibility criterion flounders here as well.

Question: What trait is the most common way of determining if languages are dialects?


Answer: dialect continua

Question: What is the term for when dialects A and B are mutually intelligible, dialect B and C are mutually intelligible, but dialects A and C are not mutually intelligible?


Answer: if being a speaker of one variety confers sufficient knowledge to understand and be understood by a speaker of the other

Question: What is the definition of mutual intelligibility?


Answer: linguistic authority

Context: Another occasionally used criterion for discriminating dialects from languages is that of linguistic authority, a more sociolinguistic notion. According to this definition, two varieties are considered dialects of the same language if (under at least some circumstances) they would defer to the same authority regarding some questions about their language. For instance, to learn the name of a new invention, or an obscure foreign species of plant, speakers of Bavarian German and East Franconian German might each consult a German dictionary or ask a German-speaking expert in the subject. By way of contrast, although Yiddish is classified by linguists as a language in the "Middle High German" group of languages, a Yiddish speaker would not consult a German dictionary to determine the word to use in such a case.

Question: What term refers to another way in which dialects are distinguished from languages?


Answer: East Franconian German

Question: Under the linguistic authority criteria, what is a dialect of German along with Bavarian German?


Answer: Middle High German

Question: Of what group of languages is Yiddish a member?


Answer: a Yiddish speaker would not consult a German dictionary

Question: Why is Yiddish not a dialect of German?


Answer: everybody

Context: By the definition most commonly used by linguists, any linguistic variety can be considered a "dialect" of some language—"everybody speaks a dialect". According to that interpretation, the criteria above merely serve to distinguish whether two varieties are dialects of the same language or dialects of different languages.

Question: According to most linguistics, who speaks a dialect?


Answer: Heinz Kloss

Context: A framework was developed in 1967 by Heinz Kloss, abstand and ausbau languages, to describe speech communities, that while unified politically and/or culturally, include multiple dialects which though closely related genetically may be divergent to the point of inter-dialect unintelligibility.

Question: Who developed the abstand and ausbau languages framework?


Answer: 1967

Question: In what year was the abstand and ausbau framework developed?


Answer: politically and/or culturally

Question: What sort of unification in speech communities did the abstand and ausbau framework discuss?


Answer: German

Context: The terms "language" and "dialect" are not necessarily mutually exclusive: There is nothing contradictory in the statement "the language of the Pennsylvania Dutch is a dialect of German".

Question: The language of the Pennsylvania Dutch is a dialect of what language?


Answer: languoid

Context: There are various terms that linguists may use to avoid taking a position on whether the speech of a community is an independent language in its own right or a dialect of another language. Perhaps the most common is "variety"; "lect" is another. A more general term is "languoid", which does not distinguish between dialects, languages, and groups of languages, whether genealogically related or not.

Question: What term avoids distinguishing between languages and dialects?


Answer: variety

Question: What is the most common way of referring to a language without making the determination of whether it's a dialect or independent language?


Answer: lect

Question: Along with variety and languoid, what is another term used for a language without determining its independent status?


Answer: the elite class

Context: In many societies, however, a particular dialect, often the sociolect of the elite class, comes to be identified as the "standard" or "proper" version of a language by those seeking to make a social distinction, and is contrasted with other varieties. As a result of this, in some contexts the term "dialect" refers specifically to varieties with low social status. In this secondary sense of "dialect", language varieties are often called dialects rather than languages:

Question: With what social class it the standard dialect commonly associated?


Answer: low

Question: What social status is the term "dialect" sometimes associated with?


Answer: dialects

Question: What is another term for language varieties?


Answer: historical and political

Context: The status of "language" is not solely determined by linguistic criteria, but it is also the result of a historical and political development. Romansh came to be a written language, and therefore it is recognized as a language, even though it is very close to the Lombardic alpine dialects. An opposite example is the case of Chinese, whose variations such as Mandarin and Cantonese are often called dialects and not languages, despite their mutual unintelligibility.

Question: What non-linguistic developments influence the status of a language?


Answer: Lombardic alpine

Question: What dialect is the language Romansh similar to?


Answer: Chinese

Question: What language are Mandarin and Cantonese sometimes considered dialects of?


Answer: mutual unintelligibility

Question: Why might Mandarin and Cantonese not be regarded as dialects?


Answer: the French Revolution

Context: Modern Nationalism, as developed especially since the French Revolution, has made the distinction between "language" and "dialect" an issue of great political importance. A group speaking a separate "language" is often seen as having a greater claim to being a separate "people", and thus to be more deserving of its own independent state, while a group speaking a "dialect" tends to be seen not as "a people" in its own right, but as a sub-group, part of a bigger people, which must content itself with regional autonomy.[citation needed] The distinction between language and dialect is thus inevitably made at least as much on a political basis as on a linguistic one, and can lead to great political controversy, or even armed conflict.

Question: What event is regarded as a landmark in the development of modern nationalism?


Answer: its own independent state

Question: If possessing a language leads to a group being regarded as a separate people, what political arrangement presumably follows?


Answer: regional autonomy

Question: What political arrangement is associated with being a dialect-speaking sub-group?


Answer: armed conflict

Question: Along with political controversy, what can the distinction between a language and dialect sometimes lead to?


Answer: Yiddish

Context: The Yiddish linguist Max Weinreich published the expression, A shprakh iz a dialekt mit an armey un flot ("אַ שפּראַך איז אַ דיאַלעקט מיט אַן אַרמײ און פֿלאָט": "A language is a dialect with an army and navy") in YIVO Bleter 25.1, 1945, p. 13. The significance of the political factors in any attempt at answering the question "what is a language?" is great enough to cast doubt on whether any strictly linguistic definition, without a socio-cultural approach, is possible. This is illustrated by the frequency with which the army-navy aphorism is cited.

Question: Max Weinreich is a linguist of what language?


Answer: A language is a dialect with an army and navy

Question: What does "A shprakh iz a dialekt mit an armey un flot" mean in English?


Answer: 1945

Question: When did Max Weinrich write "A shprakh iz a dialekt mit an armey un flot"?


Answer: traditional regional varieties

Context: When talking about the German language, the term German dialects is only used for the traditional regional varieties. That allows them to be distinguished from the regional varieties of modern standard German.

Question: When is the term 'German dialects' used in regard to the German language?


Answer: the regional varieties of modern standard German

Question: What are traditional region varieties of German distinguished from?


Answer: Germanic tribes

Context: The German dialects show a wide spectrum of variation. Most of them are not mutually intelligible. German dialectology traditionally names the major dialect groups after Germanic tribes from which they were assumed to have descended.[citation needed]

Question: After what entities are German dialects traditionally named?


Answer: South

Context: The extent to which the dialects are spoken varies according to a number of factors: In Northern Germany, dialects are less common than in the South. In cities, dialects are less common than on the countryside. In a public environment, dialects are less common than in a familiar environment.

Question: In what geographic part of Germany are dialects more common?


Answer: Northern Germany

Question: In what geographic part of Germany are dialects less frequently seen?


Answer: cities

Question: Dialects are more frequently seen in the countryside as compared to what population centers?


Answer: public

Question: In what environment are dialects less common?


Answer: familiar

Question: In what environment are dialects more frequently heard?


Answer: Swiss German

Context: The situation in Switzerland and Liechtenstein is different from the rest of the German-speaking countries. The Swiss German dialects are the default everyday language in virtually every situation, whereas standard German is seldom spoken. Some Swiss German speakers perceive standard German to be a foreign language.

Question: What dialect of German is spoken in Switzerland?


Answer: standard German

Question: What dialect of German is rarely heard in Switzerland?


Answer: Liechtenstein

Question: Aside from Switzerland, what country speaks a dialect related to Swiss German?


Answer: an ausbau language

Context: The Low German varieties spoken in Germany are often counted among the German dialects. This reflects the modern situation where they are roofed by standard German. This is different from the situation in the Middle Ages when Low German had strong tendencies towards an ausbau language.

Question: What type of language was Low German in the Middle Ages?


Answer: they are roofed by standard German

Question: Why are Low German varieties regarded as dialects of standard German?


Answer: dialetti

Context: Italy is home to a vast array of native regional minority languages, most of which are Romance-based and have their own local variants. These regional languages are often referred to colloquially or in non-linguistic circles as Italian "dialects," or dialetti (standard Italian for "dialects"). However, the majority of the regional languages in Italy are in fact not actually "dialects" of standard Italian in the strict linguistic sense, as they are not derived from modern standard Italian but instead evolved locally from Vulgar Latin independent of standard Italian, with little to no influence from what is now known as "standard Italian." They are therefore better classified as individual languages rather than "dialects."

Question: What are Italian dialects termed in the Italian language?


Answer: Vulgar Latin

Question: What language are many Italian dialects derived from?


Answer: dialects

Question: What does 'dialetti' mean in Italian?


Answer: they are not derived from modern standard Italian

Question: Why might Italian dialects be regarded as independent languages rather than dialects of standard Italian?


Answer: they lack mutual intelligibility

Context: In addition to having evolved, for the most part, separately from one another and with distinct individual histories, the Latin-based regional Romance languages of Italy are also better classified as separate languages rather than true "dialects" due to the often high degree in which they lack mutual intelligibility. Though mostly mutually unintelligible, the exact degree to which the regional Italian languages are mutual unintelligible varies, often correlating with geographical distance or geographical barriers between the languages, with some regional Italian languages that are closer in geographical proximity to each other or closer to each other on the dialect continuum being more or less mutually intelligible. For instance, a speaker of purely Eastern Lombard, a language in Northern Italy's Lombardy region that includes the Bergamasque dialect, would have severely limited mutual intelligibility with a purely standard Italian speaker and would be nearly completely unintelligible to a speaker of a pure Sicilian language variant. Due to Eastern Lombard's status as a Gallo-Italic language, an Eastern Lombard speaker may, in fact, have more mutual intelligibility with a Occitan, Catalan, or French speaker than a standard Italian or Sicilian language speaker. Meanwhile, a Sicilian language speaker would have an greater degree of mutual intelligibility with a speaker of the more closely related Neapolitan language, but far less mutual intelligibility with a person speaking Sicilian Gallo-Italic, a language that developed in isolated Lombard emigrant communities on the same island as the Sicilian language.

Question: What is a major reason why the Latin-based regional Romance languages of Italy should be regarded as independent languages rather than dialects of each other?


Answer: Lombardy

Question: From what region of Italy does the Eastern Lombard dialect hail?


Answer: Gallo-Italic

Question: What language family does Eastern Lombard belong to?


Answer: Neapolitan

Question: What type of language is Sicilian?


Answer: Sicilian Gallo-Italic

Question: What language was spoken by Lombard immigrants to Sicily?


Answer: Florentine Tuscan

Context: Modern standard Italian itself is heavily based on the Latin-derived Florentine Tuscan language. The Tuscan-based language that would eventually become modern standard Italian had been used in poetry and literature since at least the 12th century, and it first became widely known in Italy through the works of authors such as Dante Alighieri, Giovanni Boccaccio, Niccolò Machiavelli, and Petrarch. Dante's Florentine-Tuscan literary Italian thus became the language of the literate and upper class in Italy, and it spread throughout the peninsula as the lingua franca among the Italian educated class as well as Italian traveling merchants. The economic prowess and cultural and artistic importance of Tuscany in the Late Middle Ages and the Renaissance further encouraged the diffusion of the Florentine-Tuscan Italian throughout Italy and among the educated and powerful, though local and regional languages remained the main languages of the common people.

Question: What language is modern standard Italian derived from?


Answer: Latin

Question: What language is Florentine Tuscan based on?


Answer: 12th

Question: During what century did Florentine Tuscan begin to be used in poetry?


Answer: upper class

Question: What socioeconomic class used the Florentine Tuscan language in Dante's time?


Answer: Tuscany

Question: From what region of Italy did Florentine Tuscan derive?


Answer: Alessandro Manzoni

Context: During the Risorgimento, proponents of Italian republicanism and Italian nationalism, such as Alessandro Manzoni, stressed the importance of establishing a uniform national language in order to better create an Italian national identity. With the unification of Italy in the 1860s, standard Italian became the official national language of the new Italian state, while the various unofficial regional languages of Italy gradually became regarded as subordinate "dialects" to Italian, increasingly associated negatively with lack of education or provincialism. However, at the time of the Italian Unification, standard Italian still existed mainly as a literary language, and only 2.5% of Italy's population could speak standard Italian.

Question: What Italian nationalist spoke of the importance of a national Italian language?


Answer: the Risorgimento

Question: During what period was the importance of having an Italian national language raised?


Answer: 1860s

Question: In what decade was Italy unified?


Answer: 2.5%

Question: What percentage of Italians spoke standard Italian when Italy was first unified?


Answer: standard Italian

Question: When Italy was unified, what was named the official national language?


Answer: World War I

Context: In the early 20th century, the vast conscription of Italian men from all throughout Italy during World War I is credited with facilitating the diffusion of standard Italian among less educated Italian men, as these men from various regions with various regional languages were forced to communicate with each other in a common tongue while serving in the Italian military. With the eventual spread of the radio and television throughout Italy and the establishment of public education, Italians from all regions were increasingly exposed to standard Italian, while literacy rates among all social classes improved. Today, the majority of Italians are able to speak standard Italian, though many Italians still speak their regional language regularly or as their primary day-to-day language, especially at home with family or when communicating with Italians from the same town or region. However, to some Italians, speaking a regional language, especially in a formal setting or outside of one's region, may carry a stigma or negative connotations associated with being lower class, uneducated, boorish, or overly informal.

Question: During what war did a large number of Italian men first learn standard Italian?


Answer: television

Question: Along with radio and public education, what invention helped to diffuse standard Italian among the Italian population?


Answer: lower

Question: In modern Italy, what class of people are regional languages sometimes associated with?


Answer: outside of one's region

Question: Along with formal settings, where do some Italians avoid speaking their regional language?


Answer: at home with family

Question: Aside from when they're speaking to Italians from their same town or region, where is a common place where Italians speak their regional language?


Answer: standard Italian

Context: Italians in different regions today may also speak regional varieties of standard Italian, or regional Italian dialects, which, unlike the majority of languages of Italy, are actually dialects of standard Italian rather than separate languages. A regional Italian dialect is generally standard Italian that has been heavily influenced or mixed with local or regional native languages and accents.

Question: Regional Italian dialects are often influenced by regional languages and what other language?


Answer: Italo-Dalmatian

Context: The languages of Italy are primarily Latin-based Romance languages, with the most widely spoken languages falling within the Italo-Dalmatian language family. This wide category includes:

Question: What language family do most of the languages of Italy belong to?


Answer: Latin

Question: What language are most languages of Italy derived from?


Answer: Romance

Question: Aside from Italo-Dalmatian, what is another term for the group that Italian languages belong to?


Answer: The Sardinian language

Context: The Sardinian language is considered to be its own Romance language family, separate not only from standard Italian but also the wider Italo-Dalmatian family, and it includes the Campidanese Sardinian and Logudorese Sardinian variants. However, Gallurese, Sassarese, and Corsican are also spoken in Sardinia, and these languages are considered closely related or derived from the Italian Tuscan language and thus are Italo-Dalmatian languages. Furthermore, the Gallo-Romance language of Ligurian and the Catalan Algherese dialect are also spoken in Sardinia.

Question: Campidanese Sardinian is a variant of what language?


Answer: Italian Tuscan

Question: What language is Sassarese closely related to?


Answer: Italo-Dalmatian

Question: What language family does Gallurese belong to?


Answer: Gallo-Romance

Question: What language family does Ligurian belong to?


Answer: Sardinian

Question: Where is the Catalan Algherese dialect spoken?


Answer: American English

Context: The classification of speech varieties as dialects or languages and their relationship to other varieties of speech can be controversial and the verdicts inconsistent. English and Serbo-Croatian illustrate the point. English and Serbo-Croatian each have two major variants (British and American English, and Serbian and Croatian, respectively), along with numerous other varieties. For political reasons, analyzing these varieties as "languages" or "dialects" yields inconsistent results: British and American English, spoken by close political and military allies, are almost universally regarded as dialects of a single language, whereas the standard languages of Serbia and Croatia, which differ from each other to a similar extent as the dialects of English, are being treated by some linguists from the region as distinct languages, largely because the two countries oscillate from being brotherly to being bitter enemies. (The Serbo-Croatian language article deals with this topic much more fully.)

Question: Along with British English, what is the major variant of the English language?


Answer: Serbian and Croatian

Question: What are the two major variants of Serbo-Croatian?


Answer: dialects of a single language

Question: Are British and American English regarded as distinct languages, or dialects of a single language?


Answer: distinct languages

Question: Do regional linguists treat Serbian and Croation as distinct languages or as dialects of a single language?


Answer: the two countries oscillate from being brotherly to being bitter enemies

Question: Why are Serbian and Croatian often treated like distinct languages?


Answer: Bulgarian

Context: Similar examples abound. Macedonian, although mutually intelligible with Bulgarian, certain dialects of Serbian and to a lesser extent the rest of the South Slavic dialect continuum, is considered by Bulgarian linguists to be a Bulgarian dialect, in contrast with the contemporary international view and the view in the Republic of Macedonia, which regards it as a language in its own right. Nevertheless, before the establishment of a literary standard of Macedonian in 1944, in most sources in and out of Bulgaria before the Second World War, the southern Slavonic dialect continuum covering the area of today's Republic of Macedonia were referred to as Bulgarian dialects.

Question: Along with Serbian, with what language is Macedonian mutually intelligible?


Answer: South Slavic

Question: What dialect continuum does Macedonian belong to?


Answer: a Bulgarian dialect

Question: What do Bulgarian linguists regard the Macedonian language as?


Answer: 1944

Question: In what year was a Macedonian literary standard established?


Answer: Republic of Macedonia

Question: In what country is Macedonian most commonly spoken?


Answer: Christian

Context: In Lebanon, a part of the Christian population considers "Lebanese" to be in some sense a distinct language from Arabic and not merely a dialect. During the civil war Christians often used Lebanese Arabic officially, and sporadically used the Latin script to write Lebanese, thus further distinguishing it from Arabic. All Lebanese laws are written in the standard literary form of Arabic, though parliamentary debate may be conducted in Lebanese Arabic.

Question: Lebanese people of what religion sometimes consider Lebanese to be a distinct language?


Answer: Arabic

Question: In what language are Lebanese laws written?


Answer: Lebanese Arabic

Question: During the Lebanese Civil War, what language did Lebanese Christians sometimes use officially?


Answer: Arabic

Question: What language is Lebanese closely related to?


Answer: Latin

Question: What script did Lebanese Christians sometimes use to write Lebanese Arabic during the civil war?


Answer: Algeria

Context: In Tunisia, Algeria, and Morocco, the Darijas (spoken North African languages) are sometimes considered more different from other Arabic dialects. Officially, North African countries prefer to give preference to the Literary Arabic and conduct much of their political and religious life in it (adherence to Islam), and refrain from declaring each country's specific variety to be a separate language, because Literary Arabic is the liturgical language of Islam and the language of the Islamic sacred book, the Qur'an. Although, especially since the 1960s, the Darijas are occupying an increasing use and influence in the cultural life of these countries. Examples of cultural elements where Darijas' use became dominant include: theatre, film, music, television, advertisement, social media, folk-tale books and companies' names.

Question: Along with Morocco and Tunisia, in what country are the Darijas spoken?


Answer: Literary Arabic

Question: What is the liturgical language of Islam?


Answer: Literary Arabic

Question: In what language is the Qur'an written?


Answer: spoken North African languages

Question: What does the term Dariajs refer to?


Answer: Islam

Question: What is the dominant religion of North Africa?


Answer: 19th

Context: In the 19th century, the Tsarist Government of the Russian Empire claimed that Ukrainian was merely a dialect of Russian and not a language on its own. The differences were few and caused by the conquest of western Ukraine by the Polish-Lithuanian Commonwealth. However, the dialects in Ukraine eventually differed substantially from the dialects in Russia.

Question: During what century did the Russian government claim that Ukrainian was a Russian dialect?


Answer: the Tsarist Government

Question: What Russian government claimed that Ukrainian was not a distinct language?


Answer: Polish-Lithuanian Commonwealth

Question: The conquest of western Ukraine by what country altered the language of Ukraine?


Answer: The German Empire

Context: The German Empire conquered Ukraine during World War I and was planning on either annexing it or installing a puppet king, but was defeated by the Entente, with major involvement by the Ukrainian Bolsheviks. After conquering the rest of Ukraine from the Whites, Ukraine joined the USSR and was enlarged (gaining Crimea and then Eastern Galicia), whence a process of Ukrainization was begun, with encouragement from Moscow.

Question: What nation conquered Ukraine during the First World War?


Answer: the Entente

Question: What alliance defeated the German Empire in World War I?


Answer: Bolsheviks

Question: What Ukrainian political group was involved in the defeat of the German Empire?


Answer: Whites

Question: Who did the Ukrainian Bolsheviks conquer the Ukraine from?


Answer: World War II

Context: After World War II, due to Ukrainian collaborationism with the Axis powers in an attempt to gain independence, Moscow changed its policy towards repression of the Ukrainian language.

Question: After what war did Moscow begin to repress the Ukrainian language?


Answer: Ukrainian collaborationism with the Axis powers

Question: Why did Moscow begin to repress the Ukrainian language?


Answer: to gain independence

Question: Why did Ukrainians collaborate with the Axis?


Answer: Ukraine

Context: Today the boundaries of the Ukrainian language to the Russian language are still not drawn clearly, with an intermediate dialect between them, called Surzhyk, developing in Ukraine.

Question: In what country is the Surzhyk dialect spoken?


Answer: Russian

Question: Surzhyk is a dialect intermediate between the Ukrainian language and what other language?


Answer: Mircea Snegur

Context: There have been cases of a variety of speech being deliberately reclassified to serve political purposes. One example is Moldovan. In 1996, the Moldovan parliament, citing fears of "Romanian expansionism", rejected a proposal from President Mircea Snegur to change the name of the language to Romanian, and in 2003 a Moldovan–Romanian dictionary was published, purporting to show that the two countries speak different languages. Linguists of the Romanian Academy reacted by declaring that all the Moldovan words were also Romanian words; while in Moldova, the head of the Academy of Sciences of Moldova, Ion Bărbuţă, described the dictionary as a politically motivated "absurdity".

Question: Who was the president of Moldova in 1996?


Answer: 2003

Question: In what year was a Moldovan-Romanian dictionary published?


Answer: Romanian expansionism

Question: Fear of what caused the Moldovan parliament to reject changing the name of the country's language to Romanian in 1996?


Answer: Ion Bărbuţă

Question: Who was the head of the Academy of Sciences of Moldova?


Answer: logograms

Context: Unlike most languages that use alphabets to indicate the pronunciation, Chinese characters have developed from logograms that do not always give hints to its pronunciation. Although the written characters remained relatively consistent for the last two thousand years, the pronunciation and grammar in different regions has developed to an extent that the varieties of the spoken language are often mutually unintelligible. As a series of migration to the south throughout the history, the regional languages of the south, including Xiang, Wu, Gan, Min, Yue (Cantonese), and Hakka often show traces of Old Chinese or Middle Chinese. From the Ming dynasty onward, Beijing has been the capital of China and the dialect spoken in Beijing has had the most prestige among other varieties. With the founding of the Republic of China, Standard Mandarin was designated as the official language, based on the spoken language of Beijing. Since then, other spoken varieties are regarded as fangyan (dialects). Cantonese is still the most commonly used language in Hong Kong, Macau and among some overseas Chinese communities, whereas Southern Min has been accepted in Taiwan as an important local language along with Mandarin.

Question: From what did Chinese characters derive?


Answer: Cantonese

Question: What is another name for the Yue language?


Answer: the south

Question: Hakka is a language from what geographic part of China?


Answer: Beijing

Question: From the time of the Ming dynasty, what city was the capital of China?


Answer: Standard Mandarin

Question: At its founding. what was the official language of the Republic of China?


Answer: Latin

Context: Many historical linguists view any speech form as a dialect of the older medium of communication from which it developed.[citation needed] This point of view sees the modern Romance languages as dialects of Latin, modern Greek as a dialect of Ancient Greek, Tok Pisin as a dialect of English, and North Germanic as dialects of Old Norse. This paradigm is not entirely problem-free. It sees genetic relationships as paramount: the "dialects" of a "language" (which itself may be a "dialect" of a yet older language) may or may not be mutually intelligible. Moreover, a parent language may spawn several "dialects" which themselves subdivide any number of times, with some "branches" of the tree changing more rapidly than others.

Question: From the perspective of historical linguists, what are Romance languages dialects of?


Answer: Ancient Greek

Question: What do many historical linguists consider modern Greek to be a dialect of?


Answer: Old Norse

Question: From what language is North Germanic derived?


Answer: English

Question: Tok Pisin might be regarded as a dialect of what language?


Answer: Spanish

Context: This can give rise to the situation in which two dialects (defined according to this paradigm) with a somewhat distant genetic relationship are mutually more readily comprehensible than more closely related dialects. In one opinion, this pattern is clearly present among the modern Romance languages, with Italian and Spanish having a high degree of mutual comprehensibility, which neither language shares with French, despite some claiming that both languages are genetically closer to French than to each other:[citation needed] In fact, French-Italian and French-Spanish relative mutual incomprehensibility is due to French having undergone more rapid and more pervasive phonological change than have Spanish and Italian, not to real or imagined distance in genetic relationship. In fact, Italian and French share many more root words in common that do not even appear in Spanish.

Question: Italian is significantly mutually comprehensible with what other Romance language?


Answer: French

Question: With what romance language does Spanish not have a high degree of mutual comprehensibility?


Answer: French having undergone more rapid and more pervasive phonological change

Question: What is the reason for French and Italian not being very mutually comprehensible?


Answer: avere

Context: For example, the Italian and French words for various foods, some family relationships, and body parts are very similar to each other, yet most of those words are completely different in Spanish. Italian "avere" and "essere" as auxiliaries for forming compound tenses are used similarly to French "avoir" and "être". Spanish only retains "haber" and has done away with "ser" in forming compound tenses. However, when it comes to phonological structures, Italian and Spanish have undergone less change than French, with the result that some native speakers of Italian and Spanish may attain a degree of mutual comprehension that permits extensive communication.[citation needed]

Question: What Italian word is similar to the French word "avoir"?


Answer: être

Question: What French word is similar to the Italian word "essere"?


Answer: Italian and Spanish

Question: What two languages have the possibility for significant mutual intelligibility?


Answer: body parts

Question: Along with foods and family relationships, what sorts of words are similar in French and Italian?


Answer: sere

Question: When forming compound tenses in Spanish, what auxiliary is no longer used?


Answer: Interlingua

Context: One language, Interlingua, was developed so that the languages of Western civilization would act as its dialects. Drawing from such concepts as the international scientific vocabulary and Standard Average European, linguists[who?] developed a theory that the modern Western languages were actually dialects of a hidden or latent language.[citation needed] Researchers at the International Auxiliary Language Association extracted words and affixes that they considered to be part of Interlingua's vocabulary. In theory, speakers of the Western languages would understand written or spoken Interlingua immediately, without prior study, since their own languages were its dialects. This has often turned out to be true, especially, but not solely, for speakers of the Romance languages and educated speakers of English. Interlingua has also been found to assist in the learning of other languages. In one study, Swedish high school students learning Interlingua were able to translate passages from Spanish, Portuguese, and Italian that students of those languages found too difficult to understand. It should be noted, however, that the vocabulary of Interlingua extends beyond the Western language families.

Question: What language could all Western languages be considered dialects of?


Answer: International Auxiliary Language Association

Question: Researchers at what organization study and develop Interlingua?


Answer: Swedish

Question: What was the nationality of high school students who learned Interlingua in a notable linguistic experiment?


Answer: Portuguese

Question: Along with Italian and Spanish, what language could Swedish Interlingua learners translate?


Answer: the international scientific vocabulary

Question: Along with Standard Average European, from what concept was Interlingua derived?


Answer: the Classical period

Context: Classical music is art music produced or rooted in the traditions of Western music, including both liturgical (religious) and secular music. While a similar term is also used to refer to the period from 1750 to 1820 (the Classical period), this article is about the broad span of time from roughly the 11th century to the present day, which includes the Classical period and various other periods. The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period. The major time divisions of classical music are as follows: the early music period, which includes the Medieval (500–1400) and the Renaissance (1400–1600) eras; the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1820), and Romantic eras (1804–1910); and the 20th century (1901–2000) which includes the modern (1890–1930) that overlaps from the late 19th-century, the high modern (mid 20th-century), and contemporary or postmodern (1975–2015) eras.[citation needed]

Question: What term is used to refer to the period from 1750 to 1820?


Answer: 1400–1600

Question: What years are termed the Renaissance period?


Answer: 1600–1750

Question: What years are termed the Baroque period?


Answer: Romantic

Question: From 1804-1910 was called what era?


Answer: Western music

Question: Classical music is rooted in what kind of tradition?


Answer: Western

Question: Classical music is rooted the the traditions of what kind of music?


Answer: the Classical period

Question: What is the period from 1750 to 1820 called?


Answer: between 1550 and 1900

Question: What time period is known at the common practice period?


Answer: 1400–1600

Question: When was the Renaissance era?


Answer: 1890–1930

Question: When was the modern era?


Answer: its system of staff notation

Context: European art music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century. Western staff notation is used by composers to prescribe to the performer the pitches (e.g., melodies, basslines and/or chords), tempo, meter and rhythms for a piece of music. This leaves less room for practices such as improvisation and ad libitum ornamentation, which are frequently heard in non-European art music and in popular music styles such as jazz and blues. Another difference is that whereas most popular styles lend themselves to the song form, classical music has been noted for its development of highly sophisticated forms of instrumental music such as the concerto, symphony, sonata, and mixed vocal and instrumental styles such as opera which, since they are written down, can attain a high level of complexity.

Question: How is European art music distinguished from non-European and popular music?


Answer: Western staff notation

Question: What method is used by composers to prescribe to the performer the pitches, tempo, meter and rhythms for a piece of music?


Answer: jazz and blues

Question: What popular styles practice improvisation and ad libitum ornamentation?


Answer: complexity

Question: Since it is written down, classical music can attain a high level of what?


Answer: its system of staff notation

Question: How is European art music distinguished from many other musical forms?


Answer: since about the 16th century

Question: How long has the system of staff notation been in use?


Answer: improvisation

Question: Jazz and blues use ad libitum and what other ornamentation?


Answer: complexity

Question: Classic music can a attain a high level of what?


Answer: the early 19th century

Context: The term "classical music" did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Beethoven as a golden age. The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.

Question: When did the term "classical music" appear?


Answer: the period from Johann Sebastian Bach to Beethoven

Question: What period is referred to as a "golden age"?


Answer: 1836

Question: What year is the earliest reference to 'classical music'?


Answer: Oxford English Dictionary

Question: What book holds the earliest reference to 'classical music'?


Answer: classical music

Question: What term did not appear until the early 19th century?


Answer: golden age

Question: What 'age' is the period from Johann Sebastian Bach to Beethoven referred to as?


Answer: 1836

Question: What year was the earliest reference to classical music?


Answer: Oxford English Dictionary

Question: In what book was the earliest reference to classical music?


Answer: monks

Context: Given the wide range of styles in classical music, from Medieval plainchant sung by monks to Classical and Romantic symphonies for orchestra from the 1700s and 1800s to avant-garde atonal compositions for solo piano from the 1900s, it is difficult to list characteristics that can be attributed to all works of that type. However, there are characteristics that classical music contains that few or no other genres of music contain, such as the use of a printed score and the performance of very complex instrumental works (e.g., the fugue). As well, although the symphony did not exist through the entire classical music period, from the mid-1700s to the 2000s the symphony ensemble—and the works written for it—have become a defining feature of classical music.

Question: Who sang Medieval plainchant?


Answer: solo piano

Question: Avant-garde atonal compositions were written for what instrument?


Answer: use of a printed score and the performance of very complex instrumental works

Question: What two characteristics of classical music can not be attributed to other genres?


Answer: the entire classical music period

Question: Through what period did the symphony not exist?


Answer: the symphony ensemble

Question: What has become a defining feature of classical music?


Answer: the symphony

Question: What did not exist through the entire classical music period?


Answer: classical music

Question: The use of a printed score and the performance of very complex instrumental works are characteristics of what?


Answer: monks

Question: Who sang medieval plainchant?


Answer: live improvisation

Context: The key characteristic of classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score typically determines details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how the various parts are coordinated. The written quality of the music has enabled a high level of complexity within them: J.S. Bach's fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be impossible in the heat of live improvisation. The use of written notation also preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music (the melodies, lyrics, forms, and rhythms) being reproduced.

Question: J.S. Bach's fugues create a coherent harmonic logic that would be impossible for what other style of music?


Answer: rhythm

Question: The score determines how various parts are coordinated, pitch, and what other detail?


Answer: written notation

Question: What has allowed Classical musicians to perform music from many centuries ago?


Answer: J.S. Bach's

Question: Who's fugues achieve a remarkable marriage of boldly distinctive melodic lines?


Answer: perform a historical work

Context: That said, the score does not provide complete and exact instructions on how to perform a historical work. Even if the tempo is written with an Italian instruction (e.g., Allegro), we do not know exactly how fast the piece should be played. As well, in the Baroque era, many works that were designed for basso continuo accompaniment do not specify which instruments should play the accompaniment or exactly how the chordal instrument (harpsichord, lute, etc.) should play the chords, which are not notated in the part (only a figured bass symbol beneath the bass part is used to guide the chord-playing performer). The performer and/or the conductor have a range of options for musical expression and interpretation of a scored piece, including the phrasing of melodies, the time taken during fermatas (held notes) or pauses, and the use (or choice not to use) of effects such as vibrato or glissando (these effects are possible on various stringed, brass and woodwind instruments and with the human voice).

Question: The score does not provide complete and exact instruction on how to do what?


Answer: the Baroque era

Question: In what era were many works designed for basso continuo accompaniment?


Answer: the human voice

Question: Vibrato and glissando are possible on stringed, brass, woodwind and what other style instrument?


Answer: held notes

Question: What are fermatas?


Answer: improvisation

Context: Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and both vocal and instrumental performers would improvise musical ornaments. J.S. Bach was particularly noted for his complex improvisations. During the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto. During the Romantic era, Beethoven would improvise at the piano. For more information, see Improvisation.

Question: Classical music in the 2000s has lost most of its tradition for musical what?


Answer: organ performers

Question: In the Baroque era, who would improvise preludes?


Answer: instrumental performers

Question: Who would improvise musical ornaments in the Baroque era?


Answer: J.S. Bach

Question: Who was noted for his complex improvisations?


Answer: his ability to improvise melodies in different styles

Question: What was Mozart noted for?


Answer: the mid-19th century

Context: The instruments currently used in most classical music were largely invented before the mid-19th century (often much earlier) and codified in the 18th and 19th centuries. They consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments (such as the piano, harpsichord, and organ). The symphony orchestra is the most widely known medium for classical music and includes members of the string, woodwind, brass, and percussion families of instruments. The concert band consists of members of the woodwind, brass, and percussion families. It generally has a larger variety and amount of woodwind and brass instruments than the orchestra but does not have a string section. However, many concert bands use a double bass. The vocal practices changed a great deal over the classical period, from the single line monophonic Gregorian chant done by monks in the Medieval period to the complex, polyphonic choral works of the Renaissance and subsequent periods, which used multiple independent vocal melodies at the same time.

Question: Instrument currently used in most classical music where invented before what period?


Answer: The symphony orchestra

Question: What is the most widely known medium for classical music?


Answer: brass

Question: A symphony orchestra includes members of the string, woodwind, percussion and what other family of instruments?


Answer: a string section

Question: What does a symphony orchestra have that is missing from a concert band?


Answer: vocal

Question: What practice has changed a great deal over the classical period?


Answer: wood

Context: Many of the instruments used to perform medieval music still exist, but in different forms. Medieval instruments included the wood flute (which in the 21st century is made of metal), the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle (or vielle), and trombone (called the sackbut) existed. Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut (loud, shrill, outdoor instruments) and bas (quieter, more intimate instruments).

Question: What was the medieval flute made from?


Answer: vielle

Question: What was an early version of the fiddle called?


Answer: sackbut

Question: What was an early version of the trombone called?


Answer: singly

Question: Medieval instrument in Europe were commonly used how?


Answer: bas

Question: Loud, shrill, and outdoor instruments were referred to as 'haut', while quieter, more intimate instruments were referred to as what?


Answer: liturgical

Context: During the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the high medieval era, becoming prevalent by the later 13th and early 14th century.

Question: What genre was predominately Gregorian chant during the earlier medieval period?


Answer: Polyphonic vocal genres

Question: What genre uses multiple independent vocal melodies?


Answer: during the high medieval era

Question: When did the Polyphonic vocal genre begin to develop?


Answer: monophonic

Question: What word means using a single unaccompanied vocal melody line?


Answer: the Renaissance

Context: Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in the modern day, instruments may be classified as brass, strings, percussion, and woodwind.

Question: Many instruments originated during what era?


Answer: authentic instruments

Question: What has disappeared, then been recreated in order to perform music of the period?


Answer: percussion

Question: Modern day instrument may be classified as brass, string, woodwind and what other classification?


Answer: the Renaissance

Context: Brass instruments in the Renaissance were traditionally played by professionals who were members of Guilds and they included the slide trumpet, the wooden cornet, the valveless trumpet and the sackbut. Stringed instruments included the viol, the harp-like lyre, the hurdy-gurdy, the cittern and the lute. Keyboard instruments with strings included the harpsichord and the virginal. Percussion instruments include the triangle, the Jew's harp, the tambourine, the bells, the rumble-pot, and various kinds of drums. Woodwind instruments included the double reed shawm, the reed pipe, the bagpipe, the transverse flute and the recorder.

Question: Brass instruments were traditionally played by profession guild members during what era?


Answer: the hurdy-gurdy

Question: Stringed instruments during the Renaissance included the viol, the lyre, the cittern, the lute and what other instrument?


Answer: Keyboard instruments with strings

Question: The virginal is what type of instrument?


Answer: Percussion

Question: The tambourine, bells and rumble-pot are all what type of instrument?


Answer: Woodwind

Question: The reed pipe and recorder are what type of instrument?


Answer: polyphonic style

Context: Vocal music in the Renaissance is noted for the flourishing of an increasingly elaborate polyphonic style. The principal liturgical forms which endured throughout the entire Renaissance period were masses and motets, with some other developments towards the end, especially as composers of sacred music began to adopt secular forms (such as the madrigal) for their own designs. Towards the end of the period, the early dramatic precursors of opera such as monody, the madrigal comedy, and the intermedio are seen.

Question: Vocal music in the Renaissance is noted for an increasingly elaborate what?


Answer: masses

Question: What liturgical form besides motets endured throughout the entire Renaissance period?


Answer: opera

Question: Monody, the madrigal comedy, and intermedio are all precursors to what?


Answer: Baroque

Context: Baroque instruments included some instruments from the earlier periods (e.g., the hurdy-gurdy and recorder) and a number of new instruments (e.g, the cello, contrabass and fortepiano). Some instruments from previous eras fell into disuse, such as the shawm and the wooden cornet. The key Baroque instruments for strings included the violin, viol, viola, viola d'amore, cello, contrabass, lute, theorbo (which often played the basso continuo parts), mandolin, cittern, Baroque guitar, harp and hurdy-gurdy. Woodwinds included the Baroque flute, Baroque oboe, rackett, recorder and the bassoon. Brass instruments included the cornett, natural horn, Baroque trumpet, serpent and the trombone. Keyboard instruments included the clavichord, tangent piano, the fortepiano (an early version of the piano), the harpsichord and the pipe organ. Percussion instruments included the timpani, snare drum, tambourine and the castanets.

Question: The cello, contrabrass and fortepiano were new instruments during what period?


Answer: fell into disuse

Question: What happened to the shawn and the wooden cornet during the Baroque period?


Answer: Percussion

Question: The timpani ans castanets are what type of instrument?


Answer: Brass

Question: The serpent is what type of instrument?


Answer: theorbo

Question: Which string instrument often played the basso continuo parts?


Answer: the types of instruments used in ensembles

Context: One major difference between Baroque music and the classical era that followed it is that the types of instruments used in ensembles were much less standardized. Whereas a classical era string quartet consists almost exclusively of two violins, a viola and a cello, a Baroque group accompanying a soloist or opera could include one of several different types of keyboard instruments (e.g., pipe organ, harpsichord, or clavichord), additional stringed chordal instruments (e.g., a lute) and an unspecified number of bass instruments performing the basso continuo bassline, including bowed strings, woodwinds and brass instruments (e.g., a cello, contrabass, viol, bassoon, serpent, etc.).

Question: What was less standardized during the Baroque era?


Answer: a classical era string quartet

Question: Two violins, a viola, and a cello make up what type of group?


Answer: clavichord

Question: Keyboard instruments included the pip organ, harpsichord and what other instrument?


Answer: a lute

Question: What is an example of a stringed chordal instrument during the Baroque period?


Answer: Haydn

Context: The term "classical music" has two meanings: the broader meaning includes all Western art music from the Medieval era to today, and the specific meaning refers to the music from the 1750s to the early 1830s—the era of Mozart and Haydn. This section is about the more specific meaning.

Question: From the 1750's to the early 1830's is the era of Mozart and what other composer?


Answer: the early 1830s

Question: Classical music can mean all Western art music or more specifically from the 1750's to when?


Answer: the Medieval era

Question: The broad meaning of classical music stretches back from today to what era?


Answer: Baroque

Context: Classical musicians continued to use many of instruments from the Baroque era, such as the cello, contrabass, recorder, trombone, timpani, fortepiano and organ. While some Baroque instruments fell into disuse (e.g., the theorbo and rackett), many Baroque instruments were changed into the versions that are still in use today, such as the Baroque violin (which became the violin), the Baroque oboe (which became the oboe) and the Baroque trumpet, which transitioned to the regular valved trumpet.

Question: Classical musicians continued to use many instruments from what era?


Answer: rackett

Question: The theorbo and what other Baroque instrument fell into disuse?


Answer: the violin

Question: The Baroque violin became what modern instrument?


Answer: the regular valved trumpet

Question: What did the Baroque trumpet become?


Answer: viola

Context: The Classical era stringed instruments were the four instruments which form the string section of the orchestra: the violin, viola, cello and contrabass. Woodwinds included the basset clarinet, basset horn, clarinette d'amour, the Classical clarinet, the chalumeau, the flute, oboe and bassoon. Keyboard instruments included the clavichord and the fortepiano. While the harpsichord was still used in basso continuo accompaniment in the 1750s and 1760s, it fell out of use in the end of the century. Brass instruments included the buccin, the ophicleide (a serpent replacement which was the precursor of tuba) and the natural horn.

Question: The violin, cello, contrabass and what other instrument form the string section of the orchestra?


Answer: Woodwinds

Question: The flute, oboe and bassoon are all what type of instrument?


Answer: the harpsichord

Question: What instrument fell out of use after the 1760s?


Answer: the ophicleide

Question: What instrument was the precursor of the tuba?


Answer: Beethoven

Context: The "standard complement" of double winds and brass in the orchestra from the first half of the 19th century is generally attributed to Beethoven. The exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No. 4, which each specify a single flute. The composer's instrumentation usually included paired flutes, oboes, clarinets, bassoons, horns and trumpets. Beethoven carefully calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but also the effect of "choral" brass in the Trio. Piccolo, contrabassoon, and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver "storm" and "sunshine" in the Sixth. The Ninth asks for a second pair of horns, for reasons similar to the "Eroica" (four horns has since become standard); Beethoven's use of piccolo, contrabassoon, trombones, and untuned percussion—plus chorus and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of symphony should be expanded. For several decades after he died, symphonic instrumentation was faithful to Beethoven's well-established model, with few exceptions.

Question: To whom is the "standard complement" attributed to?


Answer: Symphony No. 5

Question: PIccolo, contrabassoon, and trombones add to the triumphal finales of what piece by Beethoven?


Answer: several decades

Question: How long was symphonic instrumentation faithful to Beethoven's after he died?


Answer: timbral "palette"

Question: What did Beethoven expand in his Symphonies, 3, 5, 6 and 9?


Answer: sunshine

Question: A Piccolo and trombones provides the illusion of storm and what in Beethoven's Sixth Symphony?


Answer: fortepiano

Context: In the Romantic era, the modern piano, with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained (string section, woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra may have had two double bass players, a Romantic orchestra could have as many as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for many Romantic composers." New woodwind instruments were added, such as the contrabassoon, bass clarinet and piccolo and new percussion instruments were added, including xylophones, drums, celestes (a bell-like keyboard instrument), large orchestral harps, bells, and triangles and even wind machines for sound effects.

Question: What instrument did the modern piano take over for in the Romantic era?


Answer: two

Question: How many double bass players were typically used in the Baroque orchestra?


Answer: the standard orchestral palette

Question: What wasn't rich enough for many Romantic composers?


Answer: sound

Question: Classical sections were expanded in the Romantic era for a fuller and bigger what?


Answer: a bell-like keyboard instrument

Question: What is a celestes?


Answer: the late 19th century

Context: Saxophones appear in some scores from the late 19th century onwards. While appearing only as featured solo instruments in some works, for example Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Sergei Rachmaninoff's Symphonic Dances, the saxophone is included in other works, such as Ravel's Boléro, Sergei Prokofiev's Romeo and Juliet Suites 1 and 2 and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked "tenor tuba", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

Question: When do saxophones first appear in scores?


Answer: Symphonic Dances

Question: Saxophone was featured as a solo instrument in what Sergei Rachmaninoff piece?


Answer: as a member of the orchestral ensemble

Question: How is the saxophone features in Ravel's Bolero?


Answer: "tenor tuba"

Question: The euphonium usually played parts marked as what?


Answer: Gustav Holst

Question: Who wrote The Planets?


Answer: The Wagner tuba

Context: The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle Der Ring des Nibelungen and several other works by Strauss, Béla Bartók, and others; it has a prominent role in Anton Bruckner's Symphony No. 7 in E Major. Cornets appear in Pyotr Ilyich Tchaikovsky's ballet Swan Lake, Claude Debussy's La Mer, and several orchestral works by Hector Berlioz. Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.

Question: What is the name of the modified member of the horn family appearing in several works by Strauss?


Answer: Symphony No. 7 in E Major

Question: Which symphony of Anton Bruckner's does the Wagner tuba have a prominent role in?


Answer: Pyotr Ilyich Tchaikovsky

Question: Who wrote the ballet Swan Lake?


Answer: freelance musicians

Question: What will orchestras use to augment their regular rosters?


Answer: La Mer

Question: What Debussy piece features a cornet?


Answer: Electric

Context: Electric instruments such as the electric guitar, the electric bass and the ondes Martenot appear occasionally in the classical music of the 20th and 21st centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments such as the synthesizer, electric and digital techniques such as the use of sampled or computer-generated sounds, and instruments from other cultures such as the gamelan.

Question: What type of instrument appears occasionally in the 20th and 21st century styles of classical music?


Answer: popular

Question: What type of musicians besides classical have experimented with electronic instruments?


Answer: electronic

Question: What type of instrument is the gamelan?


Answer: early classical music,

Context: Many instruments today associated with popular music filled important roles in early classical music, such as bagpipes, vihuelas, hurdy-gurdies, and some woodwind instruments. On the other hand, instruments such as the acoustic guitar, once associated mainly with popular music, gained prominence in classical music in the 19th and 20th centuries.

Question: In what did the bagpipe fill an important role?


Answer: the acoustic guitar

Question: What instrument gained prominence in the 19th and 20th century?


Answer: popular

Question: Vihuelas and hurdy-gurdies are currently associated with what type of music?


Answer: equal temperament

Context: While equal temperament became gradually accepted as the dominant musical temperament during the 18th century, different historical temperaments are often used for music from earlier periods. For instance, music of the English Renaissance is often performed in meantone temperament.

Question: What type of temperament became accepted during the 18th century?


Answer: the 18th century

Question: When did equal temperament become accepted as the dominant musical temperament?


Answer: meantone temperament

Question: What temperament is the English Renaissance performed in?


Answer: studied classical music

Context: Performers who have studied classical music extensively are said to be "classically trained". This training may be from private lessons from instrument or voice teachers or from completion of a formal program offered by a Conservatory, college or university, such as a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, often to postgraduate [Master's degree] level" is required.

Question: What have classical trained performers done extensively?


Answer: individual lessons from professors

Question: What does a B.mus. or M.mus. degree include?


Answer: postgraduate

Question: To what level is training for classical music often required?


Answer: sight-reading

Context: Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).

Question: Performance of classical music requires proficiency in what type of reading?


Answer: harmonic

Question: Performance of classical music requires proficiency in what type of principles?


Answer: classical music

Question: Familiarty with the style expected for any given composer is required for what kind of performance?


Answer: Van Halen brothers

Context: Some "popular" genre musicians have had significant classical training, such as Billy Joel, Elton John, the Van Halen brothers, Randy Rhoads and Ritchie Blackmore. Moreover, formal training is not unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programs such as those offered by the Berklee College of Music and many jazz musicians have completed degrees in music from universities with jazz programs, such as the Manhattan School of Music and McGill University.

Question: What brothers have had significant classical training?


Answer: classical

Question: Billy Joel and Elton John have both had what type of training?


Answer: commercial

Question: Rock and pop musicians may have degrees in what type of music?


Answer: male

Context: Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than the other orchestras ranked among the world's top five by Gramophone in 2008. The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic. As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently has". In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem.

Question: What gender of musician has historically made up a large amount of professional orchestras?


Answer: harpist

Question: Women were first hired in professional orchestras for what position?


Answer: 1997

Question: What year did the Vienna Philharmonic first accept women?


Answer: the Berlin Philharmonic

Question: Which major orchestra was the last to appoint a woman to a permanent position?


Answer: Dieter Flury

Question: Who was the principal flute for the Vienna Philharmonic in 1996?


Answer: 1997

Context: In 1997, the Vienna Philharmonic was "facing protests during a [US] tour" by the National Organization for Women and the International Alliance for Women in Music. Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist." As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position. In 2012, women still made up just 6% of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions.

Question: In what year did the Vienna Philharmonic face protests in the US?


Answer: Anna Lelkes

Question: Who was the first woman admitted to the Vienna Philharmonic?


Answer: harp

Question: What instrument did Anna Lelkes play?


Answer: six

Question: How many female members were part of the Vienna Philharmonic in 2013?


Answer: Albena Danailova

Question: Who was the Vienna Philharmonic's first female concertmaster?


Answer: female

Context: In 2013, an article in Mother Jones stated that while "[m]any prestigious orchestras have significant female membership—women outnumber men in the New York Philharmonic's violin section—and several renowned ensembles, including the National Symphony Orchestra, the Detroit Symphony, and the Minnesota Symphony, are led by women violinists", the double bass, brass, and percussion sections of major orchestras "...are still predominantly male." A 2014 BBC article stated that the "...introduction of 'blind' auditions, where a prospective instrumentalist performs behind a screen so that the judging panel can exercise no gender or racial prejudice, has seen the gender balance of traditionally male-dominated symphony orchestras gradually shift."

Question: The National Symphony Orchestra is led by what gender of violinist?


Answer: male

Question: The double bass, brass and percussion sections are predominately what gender?


Answer: 'blind' auditions

Question: What type of audition are expected to eliminator gender or racial prejudice?


Answer: violin

Question: In what section of the New York Philharmonic do women outnumber men?


Answer: complexity

Context: Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.

Question: Works of classical repertoire exhibit what in their use of orchestration and harmony, and form?


Answer: popular styles

Question: What is usually written in song forms?


Answer: sophisticated

Question: The concerto, symphony, sonata and opera are examples of what type of musical forms?


Answer: movements

Context: Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into four movements: (1) an opening Allegro in sonata form, (2) a slow movement, (3) a minuet or scherzo, and (4) a final Allegro. These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

Question: What are self-contained pieces in longer works called?


Answer: four

Question: How many movements are symphonies written in the Classical period usually divided into?


Answer: slow

Question: What, typically, is the speed of the second movement in a classical piece?


Answer: sections

Question: A movement broken up further is called what?


Answer: Allegro

Question: The final movement of a classical piece is usually called what?


Answer: Medieval

Context: The major time divisions of classical music up to 1900 are the early music period, which includes Medieval (500–1400) and Renaissance (1400–1600) eras, and the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. Since 1900, classical periods have been reckoned more by calendar century than by particular stylistic movements that have become fragmented and difficult to define. The 20th century calendar period (1901–2000) includes most of the early modern musical era (1890–1930), the entire high modern (mid 20th-century), and the first 25 years of the contemporary or postmodern musical era (1975–current). The 21st century has so far been characterized by a continuation of the contemporary/postmodern musical era.

Question: What period was from 500-1400?


Answer: 1600–1750

Question: What years dictate the Baroque period?


Answer: by calendar century

Question: How have periods been reckoned Since 1900?


Answer: the contemporary/postmodern musical era

Question: What era has the 21st century has been characterized by?


Answer: Romantic

Question: The years 1804-1910 marked what era?


Answer: Haydn

Context: The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

Question: What composer continued the counterpoint and fugue?


Answer: Classical

Question: Haydn is classified as typical of what era?


Answer: Beethoven

Question: Who is described as a founder of the Romantic era?


Answer: Brahms

Question: Who is classified as Romantic, but also uses counterpoint and fugue?


Answer: era

Question: Some authorities reverse terminologies to refer to the common practice period as a what?


Answer: neo

Context: The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

Question: A Contemporary composition written in the style of an earlier era is described with what prefix?


Answer: 20th-century

Question: What century were Neoclassical compositions written in?


Answer: Stravinsky's

Question: Who wrote Pulcinella?


Answer: Classical

Question: What era is Pulcinella similar to?


Answer: 2695 BC

Context: Burgh (2006), suggests that the roots of Western classical music ultimately lie in ancient Egyptian art music via cheironomy and the ancient Egyptian orchestra, which dates to 2695 BC. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as the aulos (a reed instrument) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra. The antecedent to the early period was the era of ancient music before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from ancient Greece.

Question: When does the Egyptian orchestra date to?


Answer: Burgh

Question: Who suggested that Western classical music is rooted to ancient Egyptian art music?


Answer: early Christian liturgical music,

Question: What music followed ancient Egyptian art music?


Answer: ancient Greeks

Question: Which ancient society developed individual tones and scales?


Answer: Pythagoras

Question: Who helped codify musical notation?


Answer: Rome

Context: The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100. Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets.

Question: The Medieval period begins with the fall of what city?


Answer: Monophonic chant

Question: What can Plainsong or Gregorian chant also be called?


Answer: multi-voiced

Question: What does Polyphonic mean?


Answer: 1100

Question: When did Monophonic chant stop being the dominant form?


Answer: motets

Question: Polyphonic music included more complex voicing of what?


Answer: from 1400 to 1600

Context: The Renaissance era was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize.

Question: When was the Renaissance era?


Answer: Renaissance

Question: What era was from 1400 to 1600?


Answer: Renaissance

Question: The use of the first ass instruments occurred in what era?


Answer: Social dancing

Question: What became widespread in the Renaissance era?


Answer: Renaissance

Question: Musical forms for dance began to standardize during what era?


Answer: staff

Context: It is in this time that the notation of music on a staff and other elements of musical notation began to take shape. This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

Question: The notation of music on a what began to take shape at this time?


Answer: oral

Question: How was music transmitted before the invention of musical notation?


Answer: change

Question: What was oral music subject to every time is was transmitted?


Answer: the composer's presence

Question: What can a musical scored be performed without?


Answer: the 15th century

Question: When was the movable-type printing press invented?


Answer: the flute family

Context: Typical stringed instruments of the early period include the harp, lute, vielle, and psaltery, while wind instruments included the flute family (including recorder), shawm (an early member of the oboe family), trumpet, and the bagpipes. Simple pipe organs existed, but were largely confined to churches, although there were portable varieties. Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

Question: The record is part of what wind family?


Answer: the oboe

Question: The sahwm was an early family member of what instrument?


Answer: churches

Question: Where were the first pipe organs confined to?


Answer: the 16th century

Question: When had the viol emerged by?


Answer: Printing

Question: What enabled descriptions and specification of instruments?


Answer: The common practice period

Context: The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

Question: When did many of the ideas that make up western classical music take shape?


Answer: The common practice period

Question: What began with the Baroque era?


Answer: Baroque era

Question: What era did the classical era follow?


Answer: around 1820

Question: When did the classical era end?


Answer: about 1910

Question: When did the romantic era end?


Answer: Baroque

Context: Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a continuous bass line. Music became more complex in comparison with the songs of earlier periods. The beginnings of the sonata form took shape in the canzona, as did a more formalized notion of theme and variations. The tonalities of major and minor as means for managing dissonance and chromaticism in music took full shape.

Question: Basso continuo and complex tonal counterpoint characterize what type of music?


Answer: a continuous bass line

Question: What does basso continuo mean?


Answer: more complex

Question: What did music become during the Baroque era in comparison with earlier periods?


Answer: the sonata form

Question: What form began to take shape during the Baroque era?


Answer: tonalities

Question: Major and minor what are means for managing dissonance and chromaticism?


Answer: Baroque

Context: During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to differentiate itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common. Vocalists began adding embellishments to melodies. Instrumental ensembles began to distinguish and standardize by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple.

Question: Keyboard music became popular during what era?


Answer: stringed

Question: The violin family is what type of instrument?


Answer: staged musical drama

Question: Opera began to differentiate itself from earlier forms as what?


Answer: vocal forms

Question: What became more common during the Baroque era?


Answer: embellishments

Question: What did vocalist add to melodies beginning in the Baroque era?


Answer: equal temperament

Context: The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier.

Question: What theories began to be put in wider practice?


Answer: a wider range of chromatic possibilities

Question: What does equal temperament enabled in hard to tune keyboard instruments?


Answer: equal temperament

Question: What did Bach not use?


Answer: tuned

Question: A modern piano is generally what?


Answer: meantone

Question: What system of temperaments was common during Bach's time?


Answer: 1750 to 1820

Context: The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardized (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as many as 8 to 10 performers for serenades. Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa, a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were often led by the lead violinist (now called the concertmaster).

Question: When was the Classical era?


Answer: the piano

Question: What instrument became the predominant keyboard during the classical era?


Answer: The basic forces required for an orchestra

Question: What became more standardized during the classical era?


Answer: 10

Question: How many muscians, at most, could make up a chamber ensemble during the classical period?


Answer: a form of comic opera

Question: What is an opera buffa?


Answer: Wind

Context: Wind instruments became more refined in the Classical era. While double reeded instruments like the oboe and bassoon became somewhat standardized in the Baroque, the clarinet family of single reeds was not widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.

Question: What type of instrument became more refined during the classical era?


Answer: the clarinet family

Question: What is the single reed family called?


Answer: double reeded

Question: What type of instrument was somewhat standardized int eh Baroque era?


Answer: Mozart

Question: Who expanded the single reeds role?


Answer: Romantic

Context: The music of the Romantic era, from roughly the first decade of the 19th century to the early 20th century, was characterized by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in other art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes, fantasias, and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied) came to maturity in this era, as did the epic scales of grand opera, ultimately transcended by Richard Wagner's Ring cycle.

Question: Increased attention to extended melodic lines characterized what era?


Answer: the early 20th century

Question: When did the Romantic era end?


Answer: Classical

Question: Free-form pieces like nocturnes and preludes were a break from what era?


Answer: key signatures

Question: Tensions about what increased during the Romantic era?


Answer: Lied

Question: What is a name for an art song?


Answer: wealthy patrons

Context: In the 19th century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organizations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini, fulfilled both roles.

Question: Who controlled musical institutions before the 19th century?


Answer: the nobility

Question: Composers and musicians began to construct lives independent of what in the 19th century?


Answer: middle classes

Question: What class increased it's interest in music during the 19th century?


Answer: The piano

Question: What instrument became widely popular in the middle class in the 19th century?


Answer: symphony orchestras

Question: The 19th century marks the foundation of many what?


Answer: 100

Context: The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler's 1906 Symphony No. 8, for example, has been performed with over 150 instrumentalists and choirs of over 400.

Question: To what number did the size of the orchestra grow to?


Answer: over 400

Question: What size of choirs have performed Gustav Mahler's 1906 Symphony No. 8?


Answer: over 150

Question: What size orchestras have performed Gustav Mahler's 1906 Symphony No. 8?


Answer: rotary valves

Question: What allowed Brass instruments to play a wider range of notes?


Answer: percussion

Question: What array of instrument grew wider?


Answer: colonial expansion

Context: European cultural ideas and institutions began to follow colonial expansion into other parts of the world. There was also a rise, especially toward the end of the era, of nationalism in music (echoing, in some cases, political sentiments of the time), as composers such as Edvard Grieg, Nikolai Rimsky-Korsakov, and Antonín Dvořák echoed traditional music of their homelands in their compositions.

Question: What did European cultural ideas follow?


Answer: nationalism

Question: What type of music rose toward the end of the era?


Answer: political sentiments of the time

Question: What did nationalism in music sometime echo?


Answer: traditional music of their homelands

Question: Edvard Grieg and Antonin Dvorak used what kind of music in their compositions?


Answer: post-Romantic

Context: Encompassing a wide variety of post-Romantic styles composed through the year 2000, 20th century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when many composers rejected certain values of the common practice period, such as traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music. A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late 20th century through to the early 21st century.

Question: What style does 20th century classical music encompass?


Answer: 1890–1930

Question: When did modernism take place?


Answer: Modernism

Question: Composers rejected the traditions of the common practice period during what era?


Answer: high-modern era

Question: Neo-classical music emerged during what era?


Answer: contemporary music

Question: Postmodern music is also know as what?


Answer: male

Context: Almost all of the composers who are described in music textbooks on classical music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann [sic] is one of the only [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."

Question: What gender are most composers described in music textbooks?


Answer: Musicologist Marcia Citron

Question: Who asked why is music composed by women so marginal to the standard 'classical' repertoire?


Answer: did not write many symphonies

Question: Why were women composers deemed not notable?


Answer: Clara Shumann

Question: Who is one of the only female composers mentioned?


Answer: art songs

Question: What type of music did women composers typically write?