OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Vol 3:1

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# 1911 Encyclopædia Britannica/Vol 3:15

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# 1911 Encyclopædia Britannica/Vol 3:13

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# 1911 Encyclopædia Britannica/Vol 3:14

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# 1911 Encyclopædia Britannica/Vol 3:16

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# A Dictionary of Music and Musicians/Conforti, Giovanni

From volume 1 of the work.
[ E. H. P. ]
# A Dictionary of Music and Musicians/Conradi, August

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Conductor's Part

From volume 1 of the work.
​CONDUCTOR'S PART. A substitute for a full score, in which the parts are condensed into two staves, and the names of the various instruments are inscribed as they enter. Spohr's D minor Symphony is published in this shape only.
# A Dictionary of Music and Musicians/Concone, Giuseppe

​CONCONE, Giuseppe, born at Turin in 1810, was a professor of the pianoforte and singing. He lived for about ten years in Paris, where he gave lessons in both branches of music, and brought out several compositions for the piano, notably a set of studies published by Grüs. Richault was the publisher of his vocal music, which is melodious and well written for the voice. But it is chiefly by his solfeggi and vocalizzi that Concone has made a world- wide reputation for usefulness, to which the re-publication of these works by Peters of Leipzig has greatly contributed. Those that are known consist of a book of 50 solfeggi for a medium compass of voice, 15 vocalizzi for soprano, 25 for mezzo-soprano, and a book of 25 solfeggi and 15 vocalizzi, 40 in all, for bass or baritone. This coupling together of bass and baritone is as a rule a great mistake, but in the present case the alternative notes given in passages which run low enable baritone voices to make very profitable use of the vocalizzi, and as they do not run very high, ordinary bass voices can sing them with sufficient ease. There is also a set of 30 very good florid exercises for soprano.
The contents of these books are melodious and pleasing, and calculated to promote flexibility of voice. The accompaniments are good, and there is an absence of the monotony so often found in works of the kind. The book of 50 solfeggi has been re-published by many houses, and latterly by Curwen, with the Tonic Sol-fa in addition to the ordinary notation.
[ H. C. D. ]
# A Dictionary of Music and Musicians/Consecutive

From volume 1 of the work.
It is held that consecutive fifths are objectionable because the parts move simultaneously in two different keys; hence when the effect of two keys is avoided they are admissible; as when the lower part progresses from tonic to dominant (a) (between the tenor and bass); or from tonic to subdominant (b) (between treble and alto).
Consecutive octaves are held to be objectionable because in music in parts which are clearly defined the balance is suddenly disturbed. For if three voices are singing together, each with a well defined part assigned to it, and two of them suddenly, without any ostensible reason, sing the same notes in two or three successive chords, not only is the harmony weakened by the loss of a part, but the succession of notes which they sing together is brought into unseasonable prominence. When it is intended to bring a melody or a phrase into prominence it is common to double it in octaves; but when this is done in music in definite parts it must be continued long enough for the intention to be perceived.
Some theorists add consecutive sevenths to the category of forbidden progressions, but there are so many to be found in the works of the greatest masters, and when they are harsh they are so obviously so, that the rule seems both doubtful and unnecessary.
The forbidden consecutives are most objectionable in vocal music, or music for solo instruments in combination, such as quartets and quintets of strings, when each part stands out distinctly, and the relations of the parts are easily perceived. In pianoforte music and orchestral music the objectionable effect would be often lost in the mass of sound.
Instances of violations of the rule against consecutive fifths are to be found in the works of almost all the greatest composers. Sometimes it may have been an oversight, at others it may have been done on principle. Ries's well-known anecdote (Biog. Notizen, p. 87) referring to a passage in one of Beethoven's quartets, op. 18, may show either one or the other. Elsewhere Beethoven seems to have considered that it was better to violate such a rule or incur a considerable harshness than to change the order of a thoroughly established idea, because the alteration of the idea not only produces a sense of weakness, but is also much more disturbing aesthetically than the violation of a rule of harmony. Thus in the finale of his Sonata in A, op. 101, rather than alter his established idea (a), he allows the part below to make consecutive fifths with it ( * * ).
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Concord

From volume 1 of the work.
​CONCORD is a combination of notes which requires no further combination following it or preceding it to make it satisfactory to the ear. The concords are perfect fifths, perfect fourths, major and minor thirds, and major and minor sixths, and such combinations of them, with the octave and one another, as do not entail other intervals. Thus the combination of perfect fifth with major or minor third constitutes what is known as a common chord, as (a). And different dispositions of the same notes, which are called its inversions, give, first a bass note with its third and sixth, as (b); and, secondly, a bass note with its fourth and sixth, as (c).
Besides these a chord composed of the third and sixth on the second note of any scale is regarded as a concord, though there is a diminished fifth or augmented fourth in it according to the distribution of the notes, as (d) or (e)
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Condell, Henry

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

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

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Mace, Thomas

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Macicotaticum

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Madrigal Society

From volume 2 of the work.
[ C. M. ]
# A Dictionary of Music and Musicians/Maccherini, Giuseppina

From volume 2 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Mackenzie, Alexander

From volume 2 of the work.
​MACKENZIE, Alexander Campbell, son of a favourite Edinburgh musician, was born in Edinburgh, 1847, was sent to Germany at the age of 10 to study music at Schwarzburg-Sondershausen under Ulrich Eduard Stein. He entered the ducal orchestra as violinist at the age of 14, and remained in Germany until 1862, when he came to London in order to study the violin under M. Sainton, and was elected King's Scholar of the Royal Academy of Music in 1862.
[ G. ]
Appendix p.707:
[ M. ]
Appendix p.820:
​Add to list of works 'The Dream of Jubal,' cantata, performed by the Liverpool Philharmonic Society, Feb. 5, and at Novello's Oratorio Concert, Feb. 26, 1889.
# A Dictionary of Music and Musicians/Macbeth, Allan

[ W. He. ]
# A Book of Nursery Songs and Rhymes/Lucy Locket

​XL. LUCY LOCKET
Lucy Locket lost her pocket, Kitty Fisher found it; But never a penny was there in't Except the binding round it.
# A Book of Nursery Songs and Rhymes/Mary Brown

​VII. MARY BROWN
Here we all stand round the ring, And now we shut poor Mary in. Rise up, rise up, poor Mary Brown, And see your mother go through the town.
MARY. I will not stand upon my feet To see my mother go through the street.
CHILDREN. Rise up, rise up, poor Mary Brown, And see your father go through the town.
[Mary declines similarly to rise to see her father. Next she is invited to rise and see her brother, then her sister. She refuses to rise and see cousins, uncles, aunts, beggars, etc. At last she is invited to rise and see her sweetheart. The right chord is touched, and Mary answers:—]
I will get up upon my feet To see my sweetheart go through the street.
[And makes a rush to break the ring that encompasses her.]
# A Book of Nursery Songs and Rhymes/Matthew, Mark, Luke, and John

​LXXXIX.
Matthew, Mark, Luke, and John, Bless the bed that I lie on, Four corners to my bed, Four angels round my head; One to watch, and one to pray, Two to bear my soul away.
# A Book of Nursery Songs and Rhymes/Mother's Song

​VII. MOTHER'S SONG
My heart is like a fountain true That flows and flows with love to you. As chirps the lark unto the tree So chirps my pretty babe to me. And it's O! sweet, sweet! and a lullaby.
There's not a rose where'er I seek, As comely as my baby's cheek. There's not a comb of honey-bee, So full of sweets as babe to me. And it's O! etc.
There's not a star that shines on high, Is brighter than my baby's eye. There's not a boat upon the sea, Can dance as baby does to me. And it's O! etc.
No silk was ever spun so fine As is the hair of baby mine. My baby smells more sweet to me Than smells in spring the elder tree. And it's O! etc.
​A little fish swims in the well, So in my heart does baby dwell. A little flower blows on the tree, My baby is the flower to me. And it's O! etc.
The Queen has sceptre, crown, and ball, You are my sceptre, crown, and all. For all her robes of royal silk, More fair your skin, as white as milk. And it's O! etc.
Ten thousand parks where deer run, Ten thousand roses in the sun, Ten thousand pearls beneath the sea, My baby more precious is to me. And it's O! sweet, sweet! and a lullaby!
# A Book of Nursery Songs and Rhymes/My Boy Billy

​XXV. MY BOY BILLY.
'Where hast thou been to-day, Billy, my Billy? Where hast thou been to-day, My honey boy?' 'I've been a-courting, mother, Of a fair lady gay. Yet she's too young To be taken from her mammy.'
​'Can she card and can she spin, Billy, my Billy? Can she card and can she spin, My honey boy?' 'Yes, she can card and she can spin, O and yes, she can do everything. Yet she's too young,' etc.
'But is she fit to be thy love, Billy, my Billy? But is she fit to be thy love, My honey boy?' 'O she is fit to be my love, As to the hand befits the glove. Yet she's too young,' etc.
'Tarry with me, I pray, Billy, my Billy, Tarry with me, I pray, My honey boy.' 'Down in the meadows a-flowering gay, Waiteth for me that lady gay. Yet she's too young,' etc.
'But is she fit to be thy wife, Billy, my Billy? But is she fit to be thy wife, My honey boy?' 'O she is fit to be my wife, As that a sheath befits a knife. Yet she's too young,' etc.
​'How old may she be, Billy, my Billy? How old may she be, My honey boy?' 'She is twice six, twice seven, Twice ten, and twice eleven. Yet she's too young To be taken from her mammy.'
# A Book of Nursery Songs and Rhymes/Little boy Blue, blow your horn

​XLVI.
Little boy Blue, blow your horn, The cow's in the meadow, the sheep in the corn. But where is the little boy tending the sheep? He's under the hayrick fast asleep.
# A Book of Nursery Songs and Rhymes/Mrs. Mary

​LXXIII. MRS. MARY
Mistress Mary, Quite contrary, How does your garden grow? With cockle shells And silver bells, And marigolds all in a row.
# A Book of Nursery Songs and Rhymes/Lullaby

​LIV. LULLABY
Sleep, baby, sleep! Dad is not nigh, Tossed on the deep, Lul-lul-a-by! Moon shining bright, Dropping of dew, Owls hoot all night, To-whit! to-who o!
Sleep, baby, sleep! Dad is away, Tossed on the deep, Looking for day. In the hedge-row Glow-worms alight, Rivulets flow, All through the night.
Sleep, baby, sleep! Dad is afar, Tossed on the deep, Watching a star. Clock going—tick, Tack,—in the dark. On the hearth—click!— Dies the last spark.
​Sleep, baby, sleep! What! not a wink! Dad on the deep, What will he think? Baby dear, soon Daddy will come, Bringing red shoon For baby at home.
# A Book of Nursery Songs and Rhymes/Mrs. Bond

​LXVI. MRS. BOND
'Oh, what have you got for dinner, Mrs. Bond?' 'There's beef in the larder, and ducks in the pond;' 'Dilly, dilly, dilly, dilly, come to be killed, For you must be stuffed and my customers filled!'
'John Ostler, go fetch me a duckling or two, John Ostler, go fetch me a duckling or two, Cry, dilly, dilly, dilly, dilly,' etc.
​'I have been to the ducks that swim in the pond, And they won't come to be killed by me, Mrs. Bond; I cried, Dilly, dilly, dilly,' etc.
Mrs. Bond she went down to the pond in a rage, With plenty of onions and plenty of sage; She cried, 'Dilly, dilly, dilly,' etc.
She cried, 'Little wag-tails, come and be killed, For you must be stuffed and my customers filled.' Dilly, dilly, etc.
# A Book of Nursery Songs and Rhymes/Little Tom Tucker

​LXI.
Little Tom Tucker Sings for his supper. What shall he have to eat? White bread and butter. How shall he cut it Without e'er a knife? How can he marry Without e'er a wife?
# A Dictionary of Music and Musicians/Schauspieldirector, Der

From volume 3 of the work.
​SCHAUSPIELDIRECTOR, DER, 'Comödie mit Musik in 1 Act' (The Manager, a Comedy with Music in one Act); containing an overture and 4 numbers; words by Stephanie, jun., music by Mozart. Produced at a Court festival at Schönbrunn, Feb. 7, 1786. Over the terzet (No. 3) is the date, Jan. 18, 1786. It was adapted to a French libretto under the name of 'L'Impresario,' and produced in Paris in 1856. [See vol. i. p. 768.] A careful version of the entire piece from the German original, by W. Grist, was brought out at the Crystal Palace, London, on Sept. 14, 1877, as 'The Manager,' and repeated several times there and elsewhere.
[ G. ]