OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of the Book of Mormon/Hagoth

​HAGOTH. A Nephite ship-builder and promoter of emigration. He was a very ingenious mechanic, and in the thirty-seventh year of the Judges (B. C. 55), he settled on the Pacific side of the Isthmus of Panama, where the lands Desolation and Bountiful ran parallel. There he built an exceedingly large ship, and launched it on the Pacific Ocean. This ship he filled with men, women, and children, after which it set sail northward; and having delivered its living freight, it returned the next year, again to start northward loaded with passengers and provisions. He also built other ships, which engaged in the same trade. Some of these never reached their destination, they were either lost in the depths of the sea or were carried by storms and adverse winds to some of the many groups of islands that dot the Pacific Ocean. In this manner it is more than probable the Sandwich Islands were peopled with the ancestors of the present inhabitants. The loss of these vessels did not stop the outflow by sea northward. The voyage obviated the tedious land journey through the regions now known as Central America and Mexico. At what point these emigrants disembarked is solely a matter of conjecture, and it is highly probable that the configuration of the western coast, northward from the Isthmus, was very different, previous to the immense convulsions and upheavals that occurred at the death of Christ, to what it is ​today. From this time the Nephites paid considerable attention to ship-building, and the sea became the highway between the two continents.
# A Dictionary of the Book of Mormon/Gilgal, City of

​GILGAL, CITY OF. A wicked city of the Nephites, which is only mentioned in connection with its destruction in the awful convulsions of nature that took place on this continent when the Savior was crucified. By the power of God it sunk and its corrupt inhabitants were buried in the depths of the earth. No clue is given to its locality. (III Nephi, 9:6.)
# A Dictionary of the Book of Mormon/Gilgal, Valley of

​GILGAL, VALLEY OF. A valley mentioned as the locality of several desperate battles in the last Jaredite war. The first of these battles was between the armies of Shared and those of Coriantumr; it lasted three days. The losses on both sides were exceedingly heavy, and ended in a victory for Coriantumr, who pursued the enemy as far as the plains of Heshlon. There, another hotly contested fight took place, in which the tide of fortune turned, and Coriantumr was driven back to the valley of Gilgal. Here, a third conflict ensued, in which Shared was killed and Coriantumr wounded. Nothing is said in the Book of Ether that gives any clue to the locality in which Gilgal was situated.
# A Dictionary of the Book of Mormon/Gomorrah

​GOMORRAH. Sister city to Sodom. Its name is mentioned once (II Nephi, 23:19) in a quotation from the prophecies of Isaiah.
# A Dictionary of the Book of Mormon/Grains

​GRAINS. The grains mentioned in the Book of Mormon are wheat, barley, corn and peas. Chaff is also named.
# A Dictionary of the Book of Mormon/Gilgal

​GILGAL. A Nephite general who commanded a corps of ten thousand men in the last great struggle between the Nephites and the Lamanites. He, with all his command, was slain in the final series of battles in the land Cumorah, (A. C. 385), when the Nephite nation was annihilated.
# A Dictionary of Music and Musicians/Accordion

From volume 1 of the work.
[ E. P. ]
# A Dictionary of Music and Musicians/Acciaccatura

From volume 1 of the work.
​ACCIACCATURA. (Ital. from acciacare, to crush, to pound; Ger. Zusammenschlag; Fr. Pincé etouffé.) A now nearly obsolete description of ornament, available only on keyed instruments, in which an essential note of a melody is struck at the same moment with the note immediately below it, the latter being instantly released, and the principal note sustained alone (Ex. 1). It is generally indicated by a small note with an oblique stroke across the stem (Ex. 2), or when used in chords by a line across the chord itself (Ex. 3).
Its use is now confined exclusively to the organ, where it is of great service in giving the effect of an accent, or sforzando, to either single notes or chords.
[ F. T. ]
# A Dictionary of Music and Musicians/Ach Gott vom Himmel

From volume 4 of the work.
​'ACH GOTT VOM HIMMEL.' This hymn, the words of which are a paraphrase by Martin Luther on Psalm xi. (Vulgate version), made its first appearance in 1524, when it was printed in at least four different ​collections: (a) 'Etlich cristlich lider Lobgesang, vnd Psalm, etc.' printed at Wittenberg (Wackernagel No. cxxix.); (b) the Erfurdt Enchiridion (Wackernagel, No. clvii.); (c) the 'Teütsch Kirchen Ampt mit lobegesengen,' printed by Wolf Köppel at Strasburg (Wackernagel, No. clxii.); and (d) Walther's Wittenberg 'Geystliche gesangk Buchleyn'(Wackernagel, No. clxiii.). In (a) it is directed to be sung to the melody of 'Es ist das Heil'; in (b) it appears with the tune in the Hypophrygian mode to which it is usually sung especially in North Germany; in (c) it is set to a tune in the Hypoæolian mode, to which it is sometimes still sung in South Germany; and in (d) it appears with a tune in the Dorian mode. In Joseph Klug's Hymnbook (1535), besides the well-known Hypophrygian tune, it is set to another tune in the Phrygian mode, which was afterwards adapted to Andreas Knöpken's Psalm 'Hilf Gott, wie geht das immer zu.' The melody in the Erfurdt Enchiridion is as follows:
[ W. B. S. ]
# A Dictionary of Music and Musicians/Accelerando

From volume 1 of the work.
[ E. P. ]
# A Dictionary of Music and Musicians/Academy of Music, New York

From volume 1 of the work.
​ACADEMY OF MUSIC, NEW YORK. This is not an academy in the European sense of the word, but is the name of a large building employed for the performance of operas and concerts, opened in 1854, burnt down in 1866, re-opened in Feb. 1867. The chief public institution in New York for teaching music is the New York conservatory of music.
# A Dictionary of Music and Musicians/Colombe, La

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Collections of Music

​COLLECTIONS OF MUSIC. Lists of contents of the following published collections of music will be found in this Dictionary under the headings referred to.
Alfieri. Raccolta di Musica Sacra. iv. 520. Alte Klaviermusik. See Klaviermusik. Alte Meister. See Meister. Alte. Arnold's Cathedral Music, i. 86 b. Auswahl vorzüglicher Musikwerke. i. 105 a. Bach-Gesellschaft, Edition of. i. 119; ii. 60 b; iv. 529 a. Barnard. Church Music, i. 140. Berg. Fatrocinium Musices. i. 230. Berlin. See Auswahl.
Bodenschatz. Florilegium Portense. i. 253. Boyce. Cathedral Music. i. 268. Burney's History, Examples in. iv. 570. Cathedral Music. See Arnold, Barnard, Boyce, Tudway. Choron. Raccolta generale (Collection generale, etc.) iii. 63. Clementi, Practical Harmony. iii. 24. Crotch's Specimens, iii. 648–50. Ecclesiasticon. i. 481, 482. Eslava's 'Lira sacro-hispana.' i. 494, 495. Farrenc's 'Trésor des Pianistes.' iv. 168. Fitzwilliam Music, i. 530, 531. Florilegium Portense. See Bodenschatz. Harmonia Sacra (Page), ii. 632 b. Hawkins's History, Examples in i. 700. Hullah. See Part Music and Vocal Scores. Klaviermusik, Alte. ii. 63. Latrobe. Selection of Sacred Music. ii. 102, 103. Lira sacro-hispana. See Eslava. Meister, Alte. ii. 247. Moskowa, Prince de la. Recueil, etc. iii. 31. Motet Society, ii. 376. Musica Antiqua. ii. 410. Musica Divina. ii. 411, 412. Musical Antiquarian Society. ii 416. Novello. See Fitzwilliam Music. Orpheus, ii. 613. Page's 'Harmonia Sacra.' ii. 632 b. Parthenia. ii. 653. Part Music, ii. 656. 627. Patrocinium Musices. See Berg. Pianoforte Music, old. See Klaviermusik, Meister, Parthenia. Practical Harmony, iii. 24. Prince de la Moskowa. Recueil, etc. iii. 31. Proske's 'Musica Divina.' ii. 411, 412. Raccolta di Musica Sacra (Alfieri). iv. 520. Raccolta generale, etc. (Choron). iii. 63. Recueil des morceaux de musique ancienne. See Prince Moskowa. Rochlitz's Sammlung, etc. iii. 141, 142. Sammlung Sion. Appendix. Sammlung vorzüglicher Gesangstücke. See Rochlitz. Scotish Music, ancient. See Skene MS. Selection of Sacred Music. See Latrobe. Skene MS., contents of. iii. 524, 525. Smith, J. Stafford. See Musica Antiqua. Specimens, Crotch's, iii. 648–50. Trésor des Pianistes. iv. 168. Tudway. Collection of Church Music, iv. 198, 199. Virginal Music. See Parthenia, and iv. 308–312. Vocal Scores. iv. 319. 320.
# A Dictionary of Music and Musicians/College Youths, Ancient Society of

From volume 1 of the work.
[ C. A. W. T. ]
# A Dictionary of Music and Musicians/Colman, Charles

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Cologne Choral Union

From volume 1 of the work.
​COLOGNE CHORAL UNION, the English title of a singing society of men's voices only, who visited London in 1853 and 54. [See Männer-Gesang-Verein.]
# A Dictionary of Music and Musicians/Colomba

[ M. ]
# A Dictionary of Music and Musicians/Colombani, Orazio

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Colonna, Giovanni

From volume 1 of the work.
​COLONNA, Giovanni Paolo, was born about 1640, at Brescia according to Cozzando, but at Bologna according to other authorities. He was the son of Antonio Colonna, a maker of organs, who must not be confounded with the Fabio Colonna who constructed the 'Penteconta chordon.' The subject of this notice studied music at Rome under Carissimi, Abbatini, and Benevoli. In 1672 we find him established at Bologna, where he was four times elected Principal of the Musical Academy. Among many pupils of note he numbered the famous and unfortunate Buononcini. Nearly all his compositions were for the church, but he condescended to write one opera, 'Amilcare,' which was performed at Bologna in 1693. He is certainly entitled to take rank among the most distinguished Italians of his century. At all events his music is far above the level of his epitaph, which has been unfortunately preserved:—
'Joannes Paulus cantûs basis atque Columna, Hic situs est; omnis vox pia juxtà canat.'
[ E. H. P. ]
# A Dictionary of Music and Musicians/Colman, Edward

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Colombi, Vincenzo

From volume 1 of the work.
[ V. de P. ]
# A Course in Miracles/Workbook for Students/Fear is not justified in any form

Fear is not justified in any form.
Fear is deception. It attests that you have seen yourself as you could never be, and therefore look upon a world which is impossible. Not one thing in this world is true. It does not matter what the form in which it may appear. It witnesses but to your own illusions of yourself. Let us not be deceived today. We are the Sons of God. There is no fear in us, for we are each a part of Love Itself.
How foolish are our fears! Would You allow Your Son to suffer? Give us faith today to recognize Your Son, and set him free. Let us forgive him in Your Name, that we may understand his holiness, and feel the love for him which is Your Own as well.
# A Course in Miracles/Workbook for Students/Final Lessons - Introduction
### Final Lessons - Introduction

Our final lessons will be left as free of words as possible. We use them but at the beginning of our practicing, and only to remind us that we seek to go beyond them. Let us turn to Him Who leads the way and makes our footsteps sure. To Him we leave these lessons, as to Him we give our lives henceforth. For we would not return again to the belief in sin that made the world seem ugly and unsafe, attacking and destroying, dangerous in all its ways, and treacherous beyond the hope of trust and the escape from pain.
His is the only way to find the peace that God has given us. It is His way that everyone must travel in the end, because it is this ending God Himself appointed. In the dream of time it seems to be far off. And yet, in truth, it is already here; already serving us as gracious guidance in the way to go. Let us together follow in the way that truth points out to us. And let us be the leaders of our many brothers who are seeking for the way, but find it not.
And to this purpose let us dedicate our minds, directing all our thoughts to serve the function of salvation. Unto us the aim is given to forgive the world. It is the goal that God has given us. It is His ending to the dream we seek, and not our own. For all that we forgive we will not fail to recognize as part of God Himself. And thus His memory is given back, completely and complete.
It is our function to remember Him on earth, as it is given us to be His Own completion in reality. So let us not forget our goal is shared, for it is that remembrance which contains the memory of God, and points the way to Him and to the Heaven of His peace. And shall we not forgive our brother, who can offer this to us? He is the way, the truth and life that shows the way to us. In him resides salvation, offered us through our forgiveness, given unto him.
We will not end this year without the gift our Father promised to His holy Son. We are forgiven now. And we are saved from all the wrath we thought belonged to God, and found it was a dream. We are restored to sanity, in which we understand that anger is insane, attack is mad, and vengeance merely foolish fantasy. We have been saved from wrath because we learned we were mistaken. Nothing more than that. And is a father angry at his son because he failed to understand the truth?
We come in honesty to God and say we did not understand, and ask Him to help us to learn His lessons, through the Voice of His Own Teacher. Would He hurt His Son? Or would He rush to answer him, and say, "This is My Son, and all I have is his"? Be certain He will answer thus, for these are His Own words to you. And more than that can no one ever have, for in these words is all there is, and all that there will be throughout all time and in eternity.
# A Course in Miracles/Workbook for Students/First Review - Introduction
### Review I - Introduction

Beginning with today we will have a series of review periods. Each of them will cover five of the ideas already presented, starting with the first and ending with the fiftieth. There will be a few short comments after each of the ideas, which you should consider in your review. In the practice periods, the exercises should be done as follows:
Begin the day by reading the five ideas, with the comments included. Thereafter, it is not necessary to follow any particular order in considering them, though each one should be practiced at least once. Devote two minutes or more to each practice period, thinking about the idea and the related comments after reading them over. Do this as often as possible during the day. If any one of the five ideas appeals to you more than the others, concentrate on that one. At the end of the day, however, be sure to review all of them once more.
It is not necessary to cover the comments that follow each idea either literally or thoroughly in the practice periods. Try, rather, to emphasize the central point, and think about it as part of your review of the idea to which it relates. After you have read the idea and the related comments, the exercises should be done with your eyes closed and when you are alone in a quiet place, if possible.
This is emphasized for practice periods at your stage of learning. It will be necessary, however, that you learn to require no special settings in which to apply what you have learned. You will need your learning most in situations that appear to be upsetting, rather than in those that already seem to be calm and quiet. The purpose of your learning is to enable you to bring the quiet with you, and to heal distress and turmoil. This is not done by avoiding them and seeking a haven of isolation for yourself.
You will yet learn that peace is part of you, and requires only that you be there to embrace any situation in which you are. And finally you will learn that there is no limit to where you are, so that your peace is everywhere, as you are.
You will note that, for review purposes, some of the ideas are not given in quite their original form. Use them as they are given here. It is not necessary to return to the original statements, nor to apply the ideas as was suggested then. We are now emphasizing the relationships among the first fifty of the ideas we have covered, and the cohesiveness of the thought system to which they are leading you.
# A Course in Miracles/Workbook for Students/Forgiveness is my function as the light of the world

Forgiveness is my function as the light of the world.
It is your forgiveness that will bring the world of darkness to the light. It is your forgiveness that lets you recognize the light in which you see. Forgiveness is the demonstration that you are the light of the world. Through your forgiveness does the truth about yourself return to your memory. Therefore, in your forgiveness lies your salvation.
Illusions about yourself and the world are one. That is why all forgiveness is a gift to yourself. Your goal is to find out who you are, having denied your Identity by attacking creation and its Creator. Now you are learning how to remember the truth. For this attack must be replaced by forgiveness, so that thoughts of life may replace thoughts of death.
Remember that in every attack you call upon your own weakness, while each time you forgive you call upon the strength of Christ in you. Do you not then begin to understand what forgiveness will do for you? It will remove all sense of weakness, strain and fatigue from your mind. It will take away all fear and guilt and pain. It will restore the invulnerability and power God gave His Son to your awareness.
Let us be glad to begin and end this day by practicing today's idea, and to use it as frequently as possible throughout the day. It will help to make the day as happy for you as God wants you to be. And it will help those around you, as well as those who seem to be far away in space and time, to share this happiness with you.
As often as you can, closing your eyes if possible, say to yourself today:
    Forgiveness is my function as the light of the world.
    I would fulfill my function that I may be happy.
Then devote a minute or two to considering your function and the happiness and release it will bring you. Let related thoughts come freely, for your heart will recognize these words, and in your mind is the awareness they are true. Should your attention wander, repeat the idea and add:
    I would remember this because I want to be happy.
# A Course in Miracles/Workbook for Students/Fear binds the world. Forgiveness sets it free

Fear binds the world. Forgiveness sets it free.
The ego makes illusions. Truth undoes its evil dreams by shining them away. Truth never makes attack. It merely is. And by its presence is the mind recalled from fantasies, awaking to the real. Forgiveness bids this presence enter in, and take its rightful place within the mind. Without forgiveness is the mind in chains, believing in its own futility. Yet with forgiveness does the light shine through the dream of darkness, offering it hope, and giving it the means to realize the freedom that is its inheritance.
We would not bind the world again today. Fear holds it prisoner. And yet Your Love has given us the means to set it free. Father, we would release it now. For as we offer freedom, it is given us. And we would not remain as prisoners, while You are holding freedom out to us.
# A Course in Miracles/Workbook for Students/Forgiveness ends all suffering and loss

Forgiveness ends all suffering and loss.
Forgiveness paints a picture of a world where suffering is over, loss becomes impossible and anger makes no sense. Attack is gone, and madness has an end. What suffering is now conceivable? What loss can be sustained? The world becomes a place of joy, abundance, charity and endless giving. It is now so like to Heaven that it quickly is transformed into the light that it reflects. And so the journey which the Son of God began has ended in the light from which he came.
Father, we would return our minds to You. We have betrayed them, held them in a vise of bitterness, and frightened them with thoughts of violence and death. Now would we rest again in You, as You created us.
# A Course in Miracles/Workbook for Students/Father, today I am Your Son again

Father, today I am Your Son again.
Today we will anticipate the time when dreams of sin and guilt are gone, and we have reached the holy peace we never left. Merely a tiny instant has elapsed between eternity and timelessness. So brief the interval there was no lapse in continuity, nor break in thoughts which are forever unified as one. Nothing has ever happened to disturb the peace of God the Father and the Son. This we accept as wholly true today.
We thank You, Father, that we cannot lose the memory of You and of Your Love. We recognize our safety, and give thanks for all the gifts You have bestowed on us, for all the loving help we have received, for Your eternal patience, and the Word which You have given us that we are saved.
# A Course in Miracles/Workbook for Students/Forgiveness ends the dream of conflict here

Forgiveness ends the dream of conflict here.
Conflict must be resolved. It cannot be evaded, set aside, denied, disguised, seen somewhere else, called by another name, or hidden by deceit of any kind, if it would be escaped. It must be seen exactly as it is, where it is thought to be, in the reality which has been given it, and with the purpose that the mind accorded it. For only then are its defenses lifted, and the truth can shine upon it as it disappears.
Father, forgiveness is the light You chose to shine away all conflict and all doubt, and light the way for our return to You. No light but this can end our evil dream. No light but this can save the world. For this alone will never fail in anything, being Your gift to Your beloved Son.
# A Dictionary of Music and Musicians/Besson, Gustave

In 1858 were manufactured a series of instruments known to the profession as the 'Besson Girardin,' the feature of which was that the player was enabled to change from one key to another, without changing mouthpiece, slide, or crook.
[ J. Sd. ]
# A Dictionary of Music and Musicians/Bevin, Elway

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Betz, Franz

[ A. C. ]
# A Dictionary of Music and Musicians/Beutler, Benjamin

From volume 1 of the work.
​BEUTLER, Benjamin, born at Mühlhausen near Erfurt 1793; died there 1837; a friend of Forkel, organist of the Marienkirche, and founder of a choral society for men's voices at Mühlhausen (1830). He organised musical festivals in his native town, and established choral practice in the schools, publishing for their use a collection of 'Choral-melodieen für das Mühlhausen Gesangbuch' (Mühlhausen, 1834).
# A Dictionary of Music and Musicians/Bevington and Sons

[ V. de P. ]
# A Dictionary of Music and Musicians/Bianca

From volume 1 of the work.
​BIANCA, or the Bravo's Bride, a 'grand legendary opera' in 4 acts; words by Palgrave Simpson; music by Balfe. Produced at Covent Garden, Thursday, Dec. 6, 1860.
# A Dictionary of Music and Musicians/Bianca e Faliero

From volume 1 of the work.
​BIANCA E FALIERO, an opera by Rossini, produced at the Scala at Milan Dec. 26, 1819; one of Rossini's few failures. The subject is the same with that of Manzoni's 'Conte di Carmagnola.'
# A Dictionary of Music and Musicians/Best, William

From volume 1 of the work.
[ W. H. H. ]