["[Dialogue between User and Assistant on 2024-01-01 00:00]\n<User>I've gathered some additional data to share:\nUnlike 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.\n\nMany 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.\n\nThis 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.\n\nFor 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 \"\u00eatre\". 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]\n\nOne 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.\n\nClassical 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\u20131400) and the Renaissance (1400\u20131600) eras; the Common practice period, which includes the Baroque (1600\u20131750), Classical (1750\u20131820), and Romantic eras (1804\u20131910); and the 20th century (1901\u20132000) which includes the modern (1890\u20131930) that overlaps from the late 19th-century, the high modern (mid 20th-century), and contemporary or postmodern (1975\u20132015) eras.[citation needed]\n\nEuropean 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.\n\nThe 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.\n<Assistant>Perfect. I've stored this information in my memory.", "[Dialogue between User and Assistant on 2024-01-02 00:00]\n<User>I have some interesting updates for you:\nGiven 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\u2014and the works written for it\u2014have become a defining feature of classical music.\n\nThe 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.\n\nThat 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).\n\nAlthough 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.\n\nThe 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.\n\nMany 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).\n\nDuring 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.\n\nMany 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.\n\nBrass 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.\n\nVocal 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.\n<Assistant>Excellent. I've documented all of this information.", "[Dialogue between User and Assistant on 2024-01-03 00:00]\n<User>I've gathered some additional data to share:\nBaroque 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.\n\nOne 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.).\n\nThe 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\u2014the era of Mozart and Haydn. This section is about the more specific meaning.\n\nClassical 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.\n\nThe 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.\n\nThe \"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\u2014plus chorus and vocal soloists\u2014in 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.\n\nIn 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.\n\nSaxophones 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 Bol\u00e9ro, 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.\n\nThe 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, B\u00e9la Bart\u00f3k, 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.\n\nElectric 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.\n\nMany 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.\n\nWhile 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.\n<Assistant>Thanks for sharing. I've committed this to memory.", "[Dialogue between User and Assistant on 2024-01-04 00:00]\n<User>The following are some new knowledge:\nPerformers 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.\n\nPerformance 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).\n\nSome \"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.\n\nHistorically, 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.\n\nIn 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.\n\nIn 2013, an article in Mother Jones stated that while \"[m]any prestigious orchestras have significant female membership\u2014women outnumber men in the New York Philharmonic's violin section\u2014and 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.\"\n\nWorks 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.\n\nLonger 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.\n\nThe major time divisions of classical music up to 1900 are the early music period, which includes Medieval (500\u20131400) and Renaissance (1400\u20131600) eras, and the Common practice period, which includes the Baroque (1600\u20131750), Classical (1750\u20131830) and Romantic (1804\u20131910) 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\u20132000) includes most of the early modern musical era (1890\u20131930), the entire high modern (mid 20th-century), and the first 25 years of the contemporary or postmodern musical era (1975\u2013current). The 21st century has so far been characterized by a continuation of the contemporary/postmodern musical era.\n\nThe 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.\n\nThe 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.\n\nBurgh (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.\n<Assistant>I've successfully recorded all of this data.", "[Dialogue between User and Assistant on 2024-01-05 00:00]\n<User>There are some important details I learned:\nThe 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.\n\nThe 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.\n<Assistant>I've successfully recorded all of this data.", "[Dialogue between User and Assistant on 2024-01-06 00:00]\n<User>I want to share some knowledge I just acquired:\nIt 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.\n\nTypical 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.\n\nThe 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.\n\nBaroque 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.\n\nDuring 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.\n\nThe 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.\n\nThe 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).\n\nWind 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.\n<Assistant>Thank you for sharing. I've noted this information.", "[Dialogue between User and Assistant on 2024-01-07 00:00]\n<User>Here are some facts I recently discovered:\nThe 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.\n\nIn 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 Niccol\u00f2 Paganini, fulfilled both roles.\n\nThe 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.\n\nEuropean 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 Anton\u00edn Dvo\u0159\u00e1k echoed traditional music of their homelands in their compositions.\n<Assistant>I've successfully recorded all of this data.", "[Dialogue between User and Assistant on 2024-01-08 00:00]\n<User>I have some fresh insights to share:\nEncompassing 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\u20131930) 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.\n\nAlmost 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.\"\n\nThe modernist views hold that classical music is considered primarily a written musical tradition, preserved in music notation, as opposed to being transmitted orally, by rote, or by recordings of particular performances.[citation needed] While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, since the written music contains the technical instructions for performing the work.\n\nIn 1996\u20131997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination also had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical during the course of study had a significant leap in their academic performance; whereas, those who listened to other types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work.\n<Assistant>I understand. I'll keep this in mind.", "[Dialogue between User and Assistant on 2024-01-09 00:00]\n<User>Let me tell you about some new developments:\nDuring the 1990s, several research papers and popular books wrote on what came to be called the \"Mozart effect\": an observed temporary, small elevation of scores on certain tests as a result of listening to Mozart's works. The approach has been popularized in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points. This popularized version of the theory was expressed succinctly by the New York Times music columnist Alex Ross: \"researchers... have determined that listening to Mozart actually makes you smarter.\" Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented \"I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money could be better spent on music education programs.\"\n<Assistant>Excellent. I've documented all of this information.", "[Dialogue between User and Assistant on 2024-01-10 00:00]\n<User>The following are some new knowledge:\nShawn Vancour argues that the commercialization of classical music in the early 20th century served to harm the music industry through inadequate representation.\n\nSeveral works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney's Fantasia, Tom and Jerry's Johann Mouse, and Warner Bros.' Rabbit of Seville and What's Opera, Doc?.\n\nSimilarly, movies and television often revert to standard, clich\u00e9d snatches of classical music to convey refinement or opulence: some of the most-often heard pieces in this category include Bach\u00b4s Cello Suite No. 1, Mozart's Eine kleine Nachtmusik, Vivaldi's Four Seasons, Mussorgsky's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini's William Tell Overture.\n\nThe written score, however, does not usually contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics, tempo and expression (to a certain extent). This is left to the discretion of the performers, who are guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices.\n\nSome critics express the opinion that it is only from the mid-19th century, and especially in the 20th century, that the score began to hold such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the 20th century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there is considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasize metrically strict block-rhythms (just as the music is notated in the score).\n\nImprovisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza, a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is often written for (or occasionally by) the performer beforehand. Improvisation is also an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the da capo aria, a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of Da tempeste il legno infranto from H\u00e4ndel's Giulio Cesare.\n\nCertain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clich\u00e9d, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section \"O Fortuna\" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walk\u00fcre, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo.\n\nComposers of classical music have often made use of folk music (music created by musicians who are commonly not classically trained, often from a purely oral tradition). Some composers, like Dvo\u0159\u00e1k and Smetana, have used folk themes to impart a nationalist flavor to their work, while others like Bart\u00f3k have used specific themes lifted whole from their folk-music origins.\n\nIts written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions of the composer. During the 19th century the details that composers put in their scores generally increased. Yet the opposite trend\u2014admiration of performers for new \"interpretations\" of the composer's work\u2014can be seen, and it is not unknown for a composer to praise a performer for achieving a better realization of the original intent than the composer was able to imagine. Thus, classical performers often achieve high reputations for their musicianship, even if they do not compose themselves. Generally however, it is the composers who are remembered more than the performers.\n\nThe primacy of the composer's written score has also led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practice of musicians who lived during the baroque, classical and romantic era. Improvisation in classical music performance was common during both the Baroque and early romantic eras, yet lessened strongly during the second half of the 19th and in the 20th centuries. During the classical era, Mozart and Beethoven often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they also provided written cadenzas for use by other soloists. In opera, the practice of singing strictly by the score, i.e. come scritto, was famously propagated by soprano Maria Callas, who called this practice 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially during studying the music for the first time.\n\nClassical music has often incorporated elements or material from popular music of the composer's time. Examples include occasional music such as Brahms' use of student drinking songs in his Academic Festival Overture, genres exemplified by Kurt Weill's The Threepenny Opera, and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel, exemplified by the movement entitled \"Blues\" in his sonata for violin and piano. Certain postmodern, minimalist and postminimalist classical composers acknowledge a debt to popular music.\n\nNumerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put since the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal, a number of lead guitarists (playing electric guitar) modeled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads.\n\nSlavs are the largest Indo-European ethno-linguistic group in Europe. They inhabit Central Europe, Eastern Europe, Southeast Europe, North Asia and Central Asia. Slavs speak Indo-European Slavic languages and share, to varying degrees, some cultural traits and historical backgrounds. From the early 6th century they spread to inhabit most of Central and Eastern Europe and Southeast Europe, whilst Slavic mercenaries fighting for the Byzantines and Arabs settled Asia Minor and even as far as Syria. The East Slavs colonised Siberia and Central Asia.[better source needed] Presently over half of Europe's territory is inhabited by Slavic-speaking communities, but every Slavic ethnicity has emigrated to other continents.\n\nPresent-day Slavic people are classified into West Slavic (chiefly Poles, Czechs and Slovaks), East Slavic (chiefly Russians, Belarusians, and Ukrainians), and South Slavic (chiefly Serbs, Bulgarians, Croats, Bosniaks, Macedonians, Slovenes, and Montenegrins), though sometimes the West Slavs and East Slavs are combined into a single group known as North Slavs. For a more comprehensive list, see the ethnocultural subdivisions. Modern Slavic nations and ethnic groups are considerably diverse both genetically and culturally, and relations between them \u2013 even within the individual ethnic groups themselves \u2013 are varied, ranging from a sense of connection to mutual feelings of hostility.\n<Assistant>Thanks for letting me know. I'll keep track of this."]
[{"question": "Rock and pop musicians may have degrees in what type of music?", "answer": "commercial"}, {"question": "What class increased it's interest in music during the 19th century?", "answer": "middle classes"}, {"question": "When did many of the ideas that make up western classical music take shape?", "answer": "The common practice period"}, {"question": "What type of audition are expected to eliminator gender or racial prejudice?", "answer": "'blind' auditions"}, {"question": "What method is used by composers to prescribe to the performer the pitches, tempo, meter and rhythms for a piece of music?", "answer": "Western staff notation"}, {"question": "What type of view is that classical music is primarily written musical tradition?", "answer": "modernist"}, {"question": "Who helped codify musical notation?", "answer": "Pythagoras"}, {"question": "What type of music do certain composers acknowledge a debt to?", "answer": "popular"}, {"question": "What instrument became the predominant keyboard during the classical era?", "answer": "the piano"}, {"question": "Postmodern music is also know as what?", "answer": "contemporary music"}, {"question": "Composers rejected the traditions of the common practice period during what era?", "answer": "Modernism"}, {"question": "What once played an important role in classical music?", "answer": "Improvisation"}, {"question": "What instrument gained prominence in the 19th and 20th century?", "answer": "the acoustic guitar"}, {"question": "What array of instrument grew wider?", "answer": "percussion"}, {"question": "The violin family is what type of instrument?", "answer": "stringed"}, {"question": "What does a B.mus. or M.mus. degree include?", "answer": "individual lessons from professors"}, {"question": "Polyphonic music included more complex voicing of what?", "answer": "motets"}, {"question": "Classical music in the 2000s has lost most of its tradition for musical what?", "answer": "improvisation"}, {"question": "The final movement of a classical piece is usually called what?", "answer": "Allegro"}, {"question": "What is the name of the modified member of the horn family appearing in several works by Strauss?", "answer": "The Wagner tuba"}, {"question": "Along with Standard Average European, from what concept was Interlingua derived?", "answer": "the international scientific vocabulary"}, {"question": "What do many historical linguists consider modern Greek to be a dialect of?", "answer": "Ancient Greek"}, {"question": "A movement broken up further is called what?", "answer": "sections"}, {"question": "What type of instrument appears occasionally in the 20th and 21st century styles of classical music?", "answer": "Electric"}, {"question": "To what level is training for classical music often required?", "answer": "postgraduate"}, {"question": "How have periods been reckoned Since 1900?", "answer": "by calendar century"}, {"question": "TV commercials using Richard Strauss' Also sprach Zarathustra have now become what?", "answer": "clich\u00e9d"}, {"question": "Who was the principal flute for the Vienna Philharmonic in 1996?", "answer": "Dieter Flury"}, {"question": "In the Baroque era, who would improvise preludes?", "answer": "organ performers"}, {"question": "Performance of classical music requires proficiency in what type of reading?", "answer": "sight-reading"}, {"question": "Who was noted for his complex improvisations?", "answer": "J.S. Bach"}, {"question": "What type of instrument is the gamelan?", "answer": "electronic"}, {"question": "What instrument was the precursor of the tuba?", "answer": "the ophicleide"}, {"question": "What year was the earliest reference to classical music?", "answer": "1836"}, {"question": "Neo-classical music emerged during what era?", "answer": "high-modern era"}, {"question": "What two languages have the possibility for significant mutual intelligibility?", "answer": "Italian and Spanish"}, {"question": "What can a musical scored be performed without?", "answer": "the composer's presence"}, {"question": "What was an early version of the fiddle called?", "answer": "vielle"}, {"question": "When forming compound tenses in Spanish, what auxiliary is no longer used?", "answer": "sere"}, {"question": "Who is one of the only female composers mentioned?", "answer": "Clara Shumann"}, {"question": "What is the single reed family called?", "answer": "the clarinet family"}, {"question": "What is an example of a stringed chordal instrument during the Baroque period?", "answer": "a lute"}, {"question": "Which ancient society developed individual tones and scales?", "answer": "ancient Greeks"}, {"question": "Classic music can a attain a high level of what?", "answer": "complexity"}, {"question": "At its founding. what was the official language of the Republic of China?", "answer": "Standard Mandarin"}, {"question": "The score does not provide complete and exact instruction on how to do what?", "answer": "perform a historical work"}, {"question": "Improvisation is integral before what took a high significance?", "answer": "the score"}, {"question": "Musical notation is effective for what?", "answer": "transmitting classical music"}, {"question": "Classical music is rooted in what kind of tradition?", "answer": "Western music"}, {"question": "What instrument did the modern piano take over for in the Romantic era?", "answer": "fortepiano"}, {"question": "Familiarty with the style expected for any given composer is required for what kind of performance?", "answer": "classical music"}, {"question": "Folk musicians are not commonly what?", "answer": "classically trained"}, {"question": "What system of temperaments was common during Bach's time?", "answer": "meantone"}, {"question": "What does the written score not usually contain explicitly?", "answer": "instructions"}, {"question": "What genre uses multiple independent vocal melodies?", "answer": "Polyphonic vocal genres"}, {"question": "What is the period from 1750 to 1820 called?", "answer": "the Classical period"}, {"question": "What did not exist through the entire classical music period?", "answer": "the symphony"}, {"question": "Where were the first pipe organs confined to?", "answer": "churches"}, {"question": "What type of instrument became more refined during the classical era?", "answer": "Wind"}, {"question": "What is the most widely known medium for classical music?", "answer": "The symphony orchestra"}, {"question": "To whom is the \"standard complement\" attributed to?", "answer": "Beethoven"}, {"question": "What phenomenon sees classical musicians achieving success in popular music?", "answer": "the musical crossover phenomenon"}, {"question": "What language could all Western languages be considered dialects of?", "answer": "Interlingua"}, {"question": "When did Monophonic chant stop being the dominant form?", "answer": "1100"}, {"question": "What has disappeared, then been recreated in order to perform music of the period?", "answer": "authentic instruments"}, {"question": "What term did not appear until the early 19th century?", "answer": "classical music"}, {"question": "Many instruments originated during what era?", "answer": "the Renaissance"}, {"question": "The virginal is what type of instrument?", "answer": "Keyboard instruments with strings"}, {"question": "Who controlled musical institutions before the 19th century?", "answer": "wealthy patrons"}, {"question": "What have classical trained performers done extensively?", "answer": "studied classical music"}, {"question": "Saxophone was featured as a solo instrument in what Sergei Rachmaninoff piece?", "answer": "Symphonic Dances"}, {"question": "Since it is written down, classical music can attain a high level of what?", "answer": "complexity"}, {"question": "What century were Neoclassical compositions written in?", "answer": "20th-century"}, {"question": "Brass instruments were traditionally played by profession guild members during what era?", "answer": "the Renaissance"}, {"question": "Performance of classical music requires proficiency in what type of principles?", "answer": "harmonic"}, {"question": "What does Polyphonic mean?", "answer": "multi-voiced"}, {"question": "Who wrote Pulcinella?", "answer": "Stravinsky's"}, {"question": "How many double bass players were typically used in the Baroque orchestra?", "answer": "two"}, {"question": "J.S. Bach's fugues create a coherent harmonic logic that would be impossible for what other style of music?", "answer": "live improvisation"}, {"question": "What type of music rose toward the end of the era?", "answer": "nationalism"}, {"question": "Some authorities reverse terminologies to refer to the common practice period as a what?", "answer": "era"}, {"question": "What did Brahms sometimes use in his Academic Festival Overture?", "answer": "student drinking songs"}, {"question": "What is the name for the practice of singing strictly by the score in opera?", "answer": "come scritto"}, {"question": "What type of instrument was somewhat standardized int eh Baroque era?", "answer": "double reeded"}, {"question": "What began with the Baroque era?", "answer": "The common practice period"}, {"question": "Who conducted the research study?", "answer": "University of Colorado"}, {"question": "What theories began to be put in wider practice?", "answer": "equal temperament"}, {"question": "In what book was the earliest reference to classical music?", "answer": "Oxford English Dictionary"}, {"question": "What happened to the scores of students who listened to rock and roll or country?", "answer": "moderately lower"}, {"question": "What practice has changed a great deal over the classical period?", "answer": "vocal"}, {"question": "What are self-contained pieces in longer works called?", "answer": "movements"}, {"question": "A Piccolo and trombones provides the illusion of storm and what in Beethoven's Sixth Symphony?", "answer": "sunshine"}, {"question": "What did Bach not use?", "answer": "equal temperament"}, {"question": "What did European cultural ideas follow?", "answer": "colonial expansion"}, {"question": "What allowed Brass instruments to play a wider range of notes?", "answer": "rotary valves"}, {"question": "What did music become during the Baroque era  in comparison with earlier periods?", "answer": "more complex"}, {"question": "What composer continued the counterpoint and fugue?", "answer": "Haydn"}, {"question": "What type of performances of Baroque ear Operas require improvisation?", "answer": "authentic performances"}, {"question": "Musical forms for dance began to standardize during what era?", "answer": "Renaissance"}, {"question": "The Baroque violin became what modern instrument?", "answer": "the violin"}]