OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Tambourine

​TAMBOURINE (Fr. Tambour de Basque). This consists of a wooden hoop, on one side of which is stretched a vellum head, the other side being open. Small rods with fly-nuts serve to tighten or loosen the head. It is beaten by the hand without a stick. Several pairs of small metal plates, called jingles, are fixed loosely round the hoop by a wire passing through the centres of each pair, so that they jingle whenever the tambourine is struck by the hand or shaken. Another effect is produced by rubbing the head with the finger. It is occasionally used in orchestras, as in Weber's overture to 'Preciosa,' and at one time was to be seen in our military bands. In the last century it was a fashionable instrument for ladies. The instrument is probably of Oriental origin, being very possibly derived from the Hebrew Toph (Exod. xv. 20). The Egyptian form is somewhat similar to our own, but heavier, as may be seen from the woodcut, taken from Lane's 'Modern Egyptians.'
The French Tambourin is quite a different thing, and is described under the 3rd kind of Drums, as well as under its proper name. [Drum 3, and Tambourin.]
[ V. de P. ]
# A Dictionary of Music and Musicians/Tan-ta-ra

​TAN-TA-RA. A word which occurs in English hunting songs, and is evidently intended to imitate the note of the horn. One of the earliest instances is in 'The hunt is up,' a song ascribed by Chappell to Henry VIII's time:—
The horses snort to be at the sport, The dogs are running free, The woods rejoice at the merry noise Of hey tantara tee ree!
Another is 'News from Hide Park,' of Charles II's time:—
One evening a little before it was dark, Sing tan-ta-ra-ra-ra tan-ti-vee, etc.
​But the word is as old as Ennius, who has
At tuba terribili sonitu taratantara dixit.
[ G. ]
# A Dictionary of Music and Musicians/Tambour de Basque

[ V. de P. ]
# A Dictionary of Music and Musicians/Tambourin (dance)

​TAMBOURIN, an old Provençal dance, in its original form accompanied by a Flute and Tambour de Basque, whence the name was derived. The drum accompaniment remained a characteristic feature when the dance was adopted on the stage, the bass of the tune generally consisting of single notes in the tonic or dominant. The Tambourin was in 2-4 time, of a lively character, and generally followed by a second Tambourin in the minor, after which the first was repeated. A well-known example occurs in Rameau's 'Pièces de Clavecin,' and has often been reprinted. It was introduced in Scene 7, Entré III, of the same composer's 'Fêtes d'Hébé,' where it is entitled 'Tambourin en Rondeau,' in allusion to its form, which is that of an 8-barred Rondeau followed by several 'reprises.' The same opera contains (in Entrée I, Scenes 5 and 9) two other Tambourins, each consisting of two parts (major and minor). We give the first part of one of them as an example. Mlle. Camargo is said to have excelled in this dance.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Zelter, Carl

[ A. D. C. ]
* ↑ Karl Friedrlch Christian Fasch, von Karl Frledrich Zelter. 4to. Berlin, 1801, with a Portrait (drawn by Schadow).
* ↑ Briefwechsel zwischeu Goethe und Zelter, 6 vols. Berlin, 1833–4. Translated by A. D. Coleridge, 1887.
# A Dictionary of Music and Musicians/Zenobia

​ZENOBIA. An opera, worthy of notice because of the great number of times it has been set, often to the same libretto. The following list is collected from Clement's 'Dict. Lyrique' and Riemann's 'Opern-Handbuch.'
'Zenobia': to various texts. G. A. Boretti, Vienna, 1661; N. A. Strungk, Leipzig, 1697; G. K. Reutter, jun., Vienna, 1732; Earl of Mt. Edgcumbe, London, 1800. To Metastasio's text; L. A. Predieri, Vienna, 1740; G. Sbacci, Venice, 1740; B. Micheli, Venice, 1746; D. Perez, Turin, 1751; N. Piccinni, Naples, 1756; G. Cocchi, London, 1758; N. Sala, Naples, 1761; J. A. Hasse, Vienna, 1763; J. G. Schwanberg, Brunswick, 1767; A. Tozzi, Munich, 1773; V. Federici, London, 1795; Fr. Bianchi, London, 1797.
'Zenobia in Palmira.' F. Chelleri, Milan, 1711; F. Fio, Naples, 1713; L. Leo, Naples, 1725; P. Anfossi, Venice, 1790; G. Paesiello, Naples, 1790.
'Zenobia regina de' Palmireni.' T. Albinoni, Venice, 1694.
[ G. ]
# A Dictionary of Music and Musicians/Zerrahn, Carl

[ F. H. J. ]
# A Dictionary of Music and Musicians/Zerline

[ G. ]
# A Dictionary of Music and Musicians/Zerr, Anna

[ A. C. ]
# A Dictionary of Music and Musicians/Zelmira

[ G. ]
# A Dictionary of Music and Musicians/Zeretelew, Elizabeth

[ A. C. ]
# A Dictionary of Music and Musicians/Zauberflöte, Die

​ZAUBERFLOTE, DIE, i.e. The Magic flute. Mozart's last opera, in two acts. The book was by Schikaneder and was first proposed to Mozart early in 1791; the music was written partly in a 'garden pavilion' close to the theatre, and partly in the Casino at Josephsdorf on the Kahlenberg. It was produced at the Theatre auf der Wieden, Vienna, Sept. 30 of the same year (by which time the Requiem was begun), and had not at first a great success; but this soon altered, and by Oct. 12, 1795, it had been performed at the one theatre 200 times. The overture was as usual written last—with the march. Mozart was a great Freemason, and the work is said to abound with Masonic indications, especially in the noble trombone chords which should not be 'tied'; and elsewhere throughout the opera. A likeness has been discovered between the subject of the Allegro and that of a sonata of Clementi's once played by Clementi to the emperor in Mozart's presence; and it has certainly a curious resemblance to an overture by Collo of 1779. The air 'Ein Mädchen oder Weibchen' is taken from the two last lines of the chorale 'Nun lob mein Seel den Herren.' The melody sung by the men in armour is that of another much older chorale, 'Ach Gott vom Himmel sieh darein,' with a closing phrase added by Mozart. [See Appendix, Ach Gott.]
[ G. ]
* ↑ Jahn's Mozart, Eng. transl., iii. 309, 310, 315, 317, 320.
* ↑ Ibid. iii. 315, 316.
# A Dictionary of Music and Musicians/Zavertal

[ G. ]
# A Dictionary of Music and Musicians/Zemire et Azor

​ZEMIRE ET AZOR. Fairy comedy in 4 acts; words by Marmontel, music by Grétry. Produced at Fontainebleau Nov. 9, 1771, and repeated at the Italiens, Paris, Dec. 16. The score is one of Grétry's best. It was revived, the libretto reduced by Scribe to 2 acts, and the score reinforced by Adam, on Feb. 21, 1832.
[ G. ]
# A Dictionary of Music and Musicians/Opera, German

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Oliphant, Thomas

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

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

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Ole Bull

From volume 2 of the work.
​OLE BULL. [See Appendix, Bull, Ole Borneman.]
# A Dictionary of Music and Musicians/Olimpiade

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Onslow, George

From volume 2 of the work.
[ G. C. ]
# A Dictionary of Music and Musicians/Opera, French

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Opera, Italian

From volume 2 of the work.
[ W. S. R. ]
# A Critical Exposition of the Popular 'Jihád'/Introduction/43

[Sidenote: Suitability of the Koran to all classes of humanity.]
43. Thus the system of religious and moral teaching of the Koran admirably suits the lower and the higher forms of humanity. The precepts which regulate some department of social life, moral conduct, and religious ceremonial are blessings to the barbarous; and that portion of the Koran which inculcates large principles, for the due application of which much must be left to the individual conscience, suits the same people when they begin to emerge from their barbarism under its influence into a higher condition, or to those already possessing the higher forms of civilization. For instance, the command to give full measure, to weigh with just balance, to abstain from wine and gambling, and to treat persons with kindness are intended for men not reaching the high forms of civilization. The teachings of the Koran regarding the graces of truth, honesty and temperance and mercy, the virtues of meekness, and the stress laid upon thoughts and inclinations are fit to instruct persons who have attained the higher forms of civilization, and have outgrown the need of positive precepts of minute detail.
       C. Ali.
       Hyderabad,
       Deccan,
       March 1884.
# A Critical Pronouncing Dictionary (4th edition)

A
CRITICAL
PRONOUNCING DICTIONARY,
AND
EXPOSITOR OF THE ENGLISH LANGUAGE.
Price 1l. 11s. 6d. Boards.
Entered at Stationers' Hall.
G. Sidney, Printer, Northumberland-street, Strand.
A CRITICAL PRONOUNCING DICTIONARY, AND
EXPOSITOR OF THE ENGLISH LANGUAGE: IN WHICH,
Not only the Meaning of every word is clearly explained, and the Sound of every Syllable distinctly shown, but, where Words are subject to different Pronunciations, the Authorities of our best Pronouncing Dictionaries are fully exhibited, the Reasons for each are at large displayed, and the preferable Pronunciation is pointed out.
TO WHICH ARE PREFIXED, Principles of English Pronunciation:
IN WHICH,
The Sounds of Letters, Syllables, and Words, are critically investigated, and systematically arranged; the Influence of the Greek and Latin Accent and Quantity, on the Accent and Quantity of the English, is thoroughly examined, and clearly defined; and the Analogies of the Language are so fully shown as to lay the Foundation of a consistent and rational Pronunciation.
LIKEWISE, Rules to be observed by the Natives of Scotland, Ireland, and London, for avoiding their respective Peculiarities;
AND DIRECTIONS TO FOREIGNERS, FOR ACQUIRING A KNOWLEDGE OF THE USE OF THIS DICTIONARY.
THE WHOLE INTERSPERSED WITH OBSERVATIONS, ETYMOLOGICAL, CRITICAL, AND GRAMMATICAL.
By JOHN WALKER, Author of Elements of Elocution, Rhyming Dictionary, etc. etc.
Quare, si fieri potest, et verba omnia, et vox, hujus alumnum urbis oleant: ut oratio Romana planè videatur, non civitate donata.—Quintilian.
THE FOURTH EDITION; With considerable Improvements, and large Additions.
London: Printed for J. Johnson, St. Paul's Church-Yard; G. Wilkie and J. Robinson, No. 57, George Robinson, No. 25, Pater-Noster-Row; and T. Cadell and W. Davies, Strand.
1806.
CONTENTS
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Critical Exposition of the Popular 'Jihád'/Introduction/5

[Sidenote: Moslems otherwise engaged at Medina had no intention of suffering the horrors of war by taking the initiative.]
[Sidenote: But were in imminent danger from the enemy.]
5. In fact, the Moslems, after suffering so long such heavy persecutions at Mecca, had at length got an asylum of peace at Medina, where they had very little desire left to entertain any idea of commencing hostilities or undergoing once more the horrors of war, and were too glad to live in peace after their last escape. The people of Medina had only agreed to defend the Prophet from attack, not to join him in any aggressive steps towards the Koreish. The attention of Mohammad and his followers who had fled with him was mainly occupied in preaching and teaching the tenets of Islam, in establishing a fraternity between the refugees and the citizens, in building a house for prayer, in providing houses for refugees, in contracting treaties of neutrality with the Jews of Medina and other surrounding tribes, Bani Zamra (a tribe connected with Mecca) and also with Bani Mudlij (a tribe of Kinana related to the Koreish), in anticipation of the impending danger from the Koreish, who had pursued them on the similar occasions before, and in organizing, above all these, some of the religious and civil institutions for the Moslems, who were now fast assuming the position of an independent society or commonwealth. Under such circumstances, it was next to impossible for Mohammad or his adherents to think of anything like an offensive war with their inveterate foes, or to take up arms for proselytizing purposes.

## Footnotes

* ↑ See Sura XXIV, verse 54.
# A Critical Exposition of the Popular 'Jihád'/Introduction/6

[Sidenote: The Koreish first attacked the Moslems at Medina. They could not forbear the escape of the Moslems.]
6. The Koreish, seeing the persecuted had left almost all their native lands for a distant city out of their approach, except by a military expedition, and losing Mohammad, for whose arrest they had tried their utmost, as well as upon hearing the reception, treatment, religious freedom and brotherly help the Moslems received and enjoyed at Medina, could not subdue their ferocious animosity against the exiles. The hostility of the Koreish had already been aroused. The severity and injustice of the Koreish was so great, that when, in 615 A.D., a party of 11 Moslems had emigrated to Abyssinia, they had pursued them to overtake them. And again, in 616 A.D., when the persecution by the Koreish was hotter than before, a party of about 100 Moslems had fled from Mecca to Abyssinia, the Koreish sent an embassy to Abyssinia to obtain the surrender of the emigrants. There is every reason to believe that the Koreish, enraged as they were on the escape of the Moslems in their third and great emigration in 622 A.D., would naturally have taken every strong and hostile measure to persecute the fugitives.
It was in the second year from the general expulsion of the Moslems from Mecca that the Koreish, with a large army of one thousand strong, marched upon the Moslems at Medina. Medina being 250 miles or 12 stages from Mecca, the aggressive army, after marching 8 stages, arrived at Badr, which is 3 or 4 stages from Medina. Mahommad—with only 300 Moslems, more being from among the people of Medina than the refugees—came out of Medina in self-defence to encounter the Koreish, and the famous battle of Badr was fought only at thirty miles from Medina. There could be no doubt that the affair was purely and admittedly a defensive one.
Sura XXII, verses 39-42, copied at page 17 of this book, was first published in the matter of taking up arms in self-defence after the battle of Badr.

## Footnotes

* ↑ The idea of forbearance on the part of the Koreish, as entertained by Sir W. Muir, is not borne out by their former conduct of persecuting the believers and pursuing the fugitives among them. He says: "Mahomet and Abu Bakr trusted their respective clans to protect their families from insult. But no insult or annoyance of any kind was offered by the Coreish. Nor was the slightest attempt made to detain them; although it was not unreasonable that they should have been detained as hostages against any hostile incursion from Medina". (Muir's Life of Mahomet, Vol II, page 265.) They were contemplating a grand pursuit and attack on the Moslems, and had no reason to detain the families of Mahomet and Abu Bakr as hostages whilst they could not think that the Moslems will take the initiative, as they were too glad to escape and live unmolested.
# A Critical Exposition of the Popular 'Jihád'/Introduction/7

[Sidenote: The three battles waged by the Koreish against Mohammad.]
7. The Koreish carried on three aggressive battles against the Moslems at Medina. The first, called the Battle of Badr, took place at thirty miles from Medina, the Koreish having come down 250 miles from Mecca. The second, called the Battle of Ohad, was fought at a distance of one mile from Medina, the enemy having advanced 250 miles from Mecca. The third was the battle of confederates, in which they had mustered an army of ten thousand strong. The city was besieged for several days, and the Moslems defended themselves within the walls of Medina which they had entrenched. These were the only battles between the Koreish and Mohammad, in each the latter always acted on the defensive. Neither he attacked the Koreish offensively to take revenge, nor to compel them by force of arms to accept his religion.
[Sidenote: These wars were purely in defence, not to redress their wrongs or to establish their rights.]
Even these three battles were not waged by Mohammad to redress wrong or establish imperilled rights. They were only to repel force by right of self-defence. Had Mohammad and his Moslems invaded Mecca and fought battles against the Koreish there, he would have been justified for waging war to redress the injuries of person and property inflicted by the Meccans on the Moslems whom they were tormenting for their religion and had expelled them from their homes, and had even barred their yearly visitation to the shrine of Kaába. A war which is undertaken for just causes, to repel or avert wrongful force, or to establish a right, is sanctioned by every law, religious, moral or political.
# A Critical Exposition of the Popular 'Jihád'/Note

I here take the opportunity of removing a wrong idea of the alleged injunction of the Prophet against our countrymen the Hindús. The Hon'ble Raja Sivá Prasad, in his speech at the Legislative Council, on the 9th March, 1883, while discussing the Ilbert Bill, quoted from Amir Khusro's "Tarikh Alái that, "Ala-ud-dín Khiliji once sent for a Kází, and asked him what was written in the Code of Mehammadan law regarding the Hindús. The Kází answered that, the Hindús were "Zimmis (condemned to pay the Jízya tax); if asked silver, they ought to pay gold with deep respect and humility; and if the collector of taxes were to fling dirt in their faces, they should gladly open their mouths wide. God's order is to keep them in subjection, and the Prophet enjoins on the faithful to kill, plunder and imprison them, to make Mussulmáns, or to put them to the sword, to enslave them, and confiscate their property....'" ["Vide Supplement to the Gazette of India, April 21, 1883, page 807.]
These alleged injunctions, I need not say here, after what I have stated in various places of this book regarding intolerance, and compulsory conversion, are merely false imputations. There are no such injunctions of the Prophet against either "Zimmis", (i.e., protected or guaranteed) or the Hindús.
# A Dictionary of Music and Musicians/Riem, Wilhelm

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Rietz, Eduard

From volume 3 of the work.
[ P. D. ]
* ↑ Uniformly so spelt by Mendelssohn.
* ↑ 'I long earnestly,' says he, in a letter from Borne, 'for his violin and his depth of feeling; they come vividly before my mind when I see his beloved neat handwriting.'
* ↑ Mendelssohn's Letters from Italy and Switzerland, English Translation, p. 327.
# A Dictionary of Music and Musicians/Ridotto

From volume 3 of the work.
​RIDOTTO, an Italian term for an assembly with music, and usually with masks.
They went to the Ridotto—'tis a hall Where people dance and sup and dance again; The proper name, perhaps, were a mask'd ball, But that's of no importance to my strain,
[ G. ]
# A Dictionary of Music and Musicians/Rienzi der lezte der Tribunen

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Rieter-Biedermann

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Rigadoon

From volume 3 of the work.
​RIGADOON (French Rigadon or Rigaudon), a lively dance, which most probably came from Provence or Languedoc, although its popularity in England has caused some writers to suppose that it is of English origin. It was danced in France in the time of Louis XIII, but does not seem to have become popular in England until the end of the 17th century. According to Rousseau it derived its name from its inventor, one Rigaud, but others connect it with the English 'rig,' i.e. wanton, or lively.
The Rigadoon was remarkable for a peculiar jumping step (which is described at length in Compan's 'Dictionnaire de la Danse,' Paris, 1802); this step survived the dance for some time. The music of the Rigadoon is in 2–4 or C time, and consists of three or four parts, of which the third is quite short. The number of bars is unequal, and the music generally begins on the third or fourth beat of the bar. The following example is from the 3rd Part of Henry Playford's 'Apollo's Banquet' (6th edition, 1690). The same tune occurs in 'The Dancing Master,' but in that work the bars are incorrectly divided.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Ricordi, Giovanni

From volume 3 of the work.
​RICORDI, Giovanni, founder of the well-known music-publishing house in Milan, where he was born in 1785, and died March 15, 1853. He made his first hit with the score of Mosca's 'Pretendenti delusi.' Since that time Ricordi has published for all the great Italian maestri, down to Verdi and Boïto, and has far outstripped all rivals. His 'Gazetta musicale,' edited with great success by Mazzucati, has had much influence on his prosperity. The firm possesses the whole of the original scores of the operas they have published—a most interesting collection. Giovanni's son and successor Tito [App. p.772 "born in 1811, and died Sept. 7, 1888"] further enlarged the business, and at this moment the stock consists of over 40,000,000 pages, or nearly 50,000 items, of music. The catalogue issued in 1875 contains 738 pages large 8vo. For some years past Tito has been disabled by illness, and the present head of the firm is his son Giulio di Tito, born in 1835, who is a practised writer, a skilled draughtsman, a composer of drawing-room music, and in all respects a thoroughly cultivated man.
[ F. G. ]
# A Dictionary of Music and Musicians/Riedel, Carl

From volume 3 of the work.
[ G. ]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Fowler (Henry)

​FOWLER (HENRY), bookseller (?) in London, 1642. Hazlitt mentions several political tracts printed for him, none of which has been traced [Hazlitt, ii. 680; iii. 283, 290, 292.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Franklin, or Franckling (William)

​FRANKLIN, or FRANCKLING (WILLIAM), bookseller in Norwich; In the Market-place, 1646-55. He was the publisher of a political pamphlet entitled Vox Norwici; or, The City of Norwich, 1646 [E. 358 (4)], and also of a sermon by John Carter, pastor of Great St. Peters, entitled The Nail and the Wheel, 1647, 4$^o$. [B.M. 4473. aa. 9.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Freeman (G.)

​FREEMAN (G.), bookseller (?) in London, 1666. Hazlitt, ii. 43, gives the following: The Prophecie of Thomas Becket, Archbishop of Canterbury … London, Printed for G. Freeman, 1666. 4$^o$.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Fyfield, or Fifield (Alexander)

​FYFIELD, or FIFIELD (ALEXANDER), printer and typefounder in London, 1635-44. Took up his freedom July 20th, 1635. [Arber, iii. 687.] He was one of the four typefounders allowed by the Star Chamber Decree of 1637. Nothing is known of his foundry. Like other typefounders he also carried on the business of a printer, and was one of those who printed the "Directory" for public worship issued by the Assembly of Divines in 1644.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Fowler (Robert)

​FOWLER (ROBERT), bookseller (?) in London, 1641-42. Took up his freedom January 15th, 1621. [Arber, iii. 685.] Only known from a broadside entitled Some passages that happened the 9th March, between the Kings Majestie and the Committee of both Houses, when the Declaration was delivered. London printed for Robert Fowler. 1641. [Hazlitt, ii. 94.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Frank, or Franck (John)

​FRANK, or FRANCK (JOHN), bookseller in London; Next door to the King's Head Tavern, Fleet Street, 1641-42. Associated with Jo. Burroughes and Edward Husband in the publication of political broadsides.