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

From volume 1 of the work.
​COURANTE (Ital. Corrente), (1) A dance of French origin, the name of which is derived from courir, to run. It is in 3-2 time, of rather rapid movement, and begins with a short note (usually a quaver) at the end of the bar. It is distinguished by a predominance of dotted notes, as in this, from Bach's 'English Suites,' No. 4,
and requires a staccato rather than a legato style of performance. Like most of the other old dances, it consists of two parts, each of which is repeated. A special peculiarity of the courante is that the last bar of each part, in contradiction to the time-signature, is in 6-4 tune. This will be seen clearly by an extract from the movement quoted above:—
As a component of the suite, the Courante follows the Allemande, with which in its character it is strongly contrasted. In losing its connection with the dance, it underwent a slight modification: whereas in its earlier shape the 6-4 rhythm was only to be found in the concluding bar of each part, courantes are frequently to be met with in suites wherein the two rhythms are mixed up, and sometimes even where, in spite of the time-signature, the 6-4 rhythm predominates throughout. This is especially the case in many of those by Couperin. The endeavour to bring out these various features clearly and prominently, without injuring the flow of the whole, led to the adoption of the polyphonic style, by which the Courante is so strongly contrasted with the Allemande. Its chief points may be briefly summed up thus—triple time, prevalence of dotted rhythms, alternations of 3-2 and 6-4 times, and polyphonic treatment.
(2) The Italian courante (Courante Italienne), called also, like the preceding, simply Corrente or Courante, is a different form, quite independent of that just mentioned. It answers more nearly to the etymological meaning of its name, consisting chiefly of running passages. This courante is also in triple time—usually 3-8, but sometimes 3-4—and of rapid tempo, about allegro, or allegro assai. It is thus, like the French courante, contrasted with the allemande. As an example of this class may be ​taken the following from Bach's 'Partita' No. 5:—
Other specimens of this kind of courante may be found in No. 5 of Handel's 'First Set of Lessons,' and in Nos. 5 and 6 of Bach's 'Suites Francaisee,' these last being in 3-4 time. They are also frequent in Corelli's ' Violin Sonatas.'
(3) One more species of courante remains to be noticed, which is founded upon, and attempts to combine the two preceding ones, but with the peculiarity that the special features of both—viz. the French change of rhythm, and the Italian runs—are not introduced. It is in fact a hybrid possessing little in common with the other varieties, except that it is in triple time, and consists of two parts, each repeated. Most of Handel's courantes belong to this class. The commencement of one, from his 'Lessons,' Bk. i. No. 8, will show at once the great difference between this and the French or Italian courante.
[ E. P. ]
# A Dictionary of Music and Musicians/Courteville, Raphael

From volume 1 of the work.
​COURTEVILLE, Raphael, was one of the gentlemen of the Chapel Royal in the reign of Charles I. He lived through the interregnum, resumed his place in the chapel on its re-establishment in 1660, and died Dec. 28, 1675.
His son Raphael, was brought up as a chorister in the Chapel Royal. As a composer of songs his productions abound in the collections published in the latter part of the 17th century and at the commencement of the next. His first printed work was 'Six Sonatas for two Violins,' and he also produced, about 1685, Sonatas for two Flutes. In 1691 he was appointed the first organist of St. James's church, Piccadilly, for which he composed the psalm tune well known by the name 'St. James's.' In 1696 [App. p.600 "1695"] he was one of the composers associated with Henry Purcell in setting the third part of D'Urfey's 'Don Quixote.' He is supposed to have died about the year 1735.
His son Raphael, succeeded his father as organist of St. James's church. He was a political writer of some repute and believed to be the author of some articles in "The Gazetteer,' a paper which supported Sir Robert Walpole's administration, whence he was nicknamed by the opposite party, 'Court-evil.' He died in 1771.
[App. p.600 & 601 "The statement that he died and was succeeded by his son in 1735 is without confirmation. The vestry registers of the Church of St. James's, Piccadilly, show no entry of a change of organists between 1691 and 1771, and as several entries imply that Courteville had been for many years before the latter date unable to perform his duties, it is highly probable, if not actually certain, that one person of the name held the post for eighty years. He seems to have married in 1735 a lady of large fortune. (Notes and Queries, sec. II. x. 496.) In 1738 he published 'Memoirs of Lord Burleigh,' signing it only with initials. A pamphlet by him on Insolvency was published in 1761, and a satire on his writings appeared in the 'Westminster Journal' of Dec. 4, 1742, bearing his signature, with the appended titles, 'Organ-blower, Essayist, and Historiographer.' He died early in June, 1772, and was buried on the 10th of the month."]
[ W. H. H. ]
# A Dictionary of Music and Musicians/Cousser, Johann

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

From volume 1 of the work.
​COUPLER. All modern organs are provided with mechanical appliances called 'couplers.' These useful adjuncts are of two general kinds 'manual couplers' and 'pedal couplers.' (1) The former operate in one of three ways: either by taking down on one manual the key corresponding to that played on another, in which case it is a ‘unison coupler’; or by taking down the octave above the note pressed down, when it forms an ‘octave coupler,’ sometimes incorrectly called a 'super-octave coupler'; or by operating on the octave below, forming a 'sub-octave coupler.' The octave and sub-octave couplers sometimes act on the manual on which the note is struck. The couplers are put in action by draw-stops inscribed according to circumstances—as 'Swell to Great,' 'Great to itself,'—or by pedals. Manual couplers date back at least as far as 1651, when Geissler's organ at Lucerne was completed; which, according to the account formerly existing over the keys, contained 'several registers, whereby one may make use of the three manuals together, or of one or two of them separately.'
[ E. J. H. ]
# A Dictionary of Music and Musicians/Courtois, Jean

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

From volume 1 of the work.
[ M. ]
# A Dictionary of Music and Musicians/Couperin, François

From volume 1 of the work.
​COUPERIN, François, called, like Louis XIV, 'Le Grand,' was born at Paris 1668, and died there 1733. In 1696 he became organist of St. Gervais, in which office, from about 1650 to 1700, he was both preceded and succeeded by members of the Couperin family, who were all professional musicians. But though he is reported to have been a first-rate organist, his reputation rests upon his various suites of pieces for the 'clavecin, his excellent Méthode for that instrument, and his proficiency as an executant upon it. It is of particular interest for historians of music, as well as for professed pianists, to note the unmistakeable influence which Couperin's suites and Méthode had upon Sebastian Bach, both in his practice (mode of touch, fingering, execution of 'les agrémens'—shakes, turns, arpeggii, etc.) [Agrements] and in the shape and contents of some of his loveliest contributions to the literature of the instrument, such as his suites and partitas. The principal pieces in Bach's 'Suites françaises,' 'Suites anglaises,' 'Partitas,' and even in some of his solo works for violin and violoncello, as well as in his suites for stringed or mixed stringed and wind instruments—'Concerti Grossi,'—the allemandes, courantes, sarabandes, gavottes, gigues, etc., are frequently in close imitation of the French types of dance tunes then current, and of which Couperin's suites furnished the best specimens. Bach here and there goes to the length of ​copying the curious rhythmical oddities which give to some of Couperin's pieces, particularly his courantes, an air of stiffness and angularity akin to ill-carved wooden puppets:—compare Bach's second courante, in the first of the Suites anglaises, particularly the first Double thereof, or the courante in the fourth Partita in D major, with Couperin's courantes in G minor and D minor, C minor, A major, and B minor, from the first, second, third, fifth, and eighth 'ordre' of his 'Pieces de clavecin.' A distinction should be made between Couperin's type of 'courante' and the Italian 'corrente,' as it is to be found in Corelli's works—of which latter type Bach also gives many specimens. [Courante.] Couperin's suites, in a word, are a sort of refined ballet music. He has re-set the dances played by the orchestra in Lully's operas for the clavecin, and the theatrical twang noticeable in the quaint titles of many of the pieces—for instance, 'La majestueuse,' 'L'enchanteresse,' 'La prude,' 'La flatteuse,' 'La voluptueuse,' 'Les enjouments bachiques,' 'Tendresses bachiques,' 'Fureurs bachiques,' etc.—has stood in the way of a thorough musical development.
[ E. D. ]
# A Dictionary of Music and Musicians/Coussemaker, Charles

From volume 1 of the work.
[ F. G. ]
# A Course in Miracles/Manual for Teachers/Forgiveness - The Face of Christ
### Forgiveness - The Face of Christ

Forgiveness is for God and toward God but not of Him. It is impossible to think of anything He created that could need forgiveness. Forgiveness, then, is an illusion, but because of its purpose, which is the Holy Spirit's, it has one difference. Unlike all other illusions it leads away from error and not towards it.
Forgiveness might be called a kind of happy fiction; a way in which the unknowing can bridge the gap between their perception and the truth. They cannot go directly from perception to knowledge because they do not think it is their will to do so. This makes God appear to be an enemy instead of what He really is. And it is just this insane perception that makes them unwilling merely to rise up and to return to Him in peace.
And so they need an illusion of help because they are helpless; a Thought of peace because they are in conflict. God knows what His Son needs before he asks. He is not at all concerned with form, but having given the content it is His Will that it be understood. And that suffices. The form adapts itself to need; the content is unchanging, as eternal as its Creator.
The face of Christ has to be seen before the memory of God can return. The reason is obvious. Seeing the face of Christ involves perception. No one can look on knowledge. But the face of Christ is the great symbol of forgiveness. It is salvation. It is the symbol of the real world. Whoever looks on this no longer sees the world. He is as near to Heaven as is possible outside the gate. Yet from this gate it is no more than just a step inside. It is the final step. And this we leave to God.
Forgiveness is a symbol, too, but as the symbol of His Will alone it cannot be divided. And so the unity that it reflects becomes His Will. It is the only thing still in the world in part, and yet the bridge to Heaven.
God's Will is all there is. We can but go from nothingness to everything; from hell to Heaven. Is this a journey? No, not in truth, for truth goes nowhere. But illusions shift from place to place; from time to time. The final step is also but a shift. As a perception it is part unreal. And yet this part will vanish. What remains is peace eternal and the Will of God.
There are no wishes now for wishes change. Even the wished-for can become unwelcome. That must be so because the ego cannot be at peace. But Will is constant, as the gift of God. And what He gives is always like Himself. This is the purpose of the face of Christ. It is the gift of God to save His Son. But look on this and you have been forgiven.
How lovely does the world become in just that single instant when you see the truth about yourself reflected there. Now you are sinless and behold your sinlessness. Now you are holy and perceive it so. And now the mind returns to its Creator; the joining of the Father and the Son, the Unity of unities that stands behind all joining but beyond them all. God is not seen but only understood. His Son is not attacked but recognized.
# A Course in Miracles/Manual for Teachers/How Is Correction Made?
### How Is Correction Made?

Correction of a lasting nature, -- and only this is true correction, -- cannot be made until the teacher of God has ceased to confuse interpretation with fact, or illusion with truth. If he argues with his pupil about a magic thought, attacks it, tries to establish its error or demonstrate its falsity, he is but witnessing to its reality. Depression is then inevitable, for he has "proved," both to his pupil and himself, that it is their task to escape from what is real. And this can only be impossible. Reality is changeless. Magic thoughts are but illusions. Otherwise salvation would be only the same age-old impossible dream in but another form. Yet the dream of salvation has new content. It is not the form alone in which the difference lies.
God's teachers' major lesson is to learn how to react to magic thoughts wholly without anger. Only in this way can they proclaim the truth about themselves. Through them, the Holy Spirit can now speak of the reality of the Son of God. Now He can remind the world of sinlessness, the one unchanged, unchangeable condition of all that God created. Now He can speak the Word of God to listening ears, and bring Christ's vision to eyes that see. Now is He free to teach all minds the truth of what they are, so they will gladly be returned to Him. And now is guilt forgiven, overlooked completely in His sight and in God's Word.
Anger but screeches, "Guilt is real!" Reality is blotted out as this insane belief is taken as replacement for God's Word. The body's eyes now "see"; its ears alone can "hear." Its little space and tiny breath become the measure of reality. And truth becomes diminutive and meaningless. Correction has one answer to all this, and to the world that rests on this:
       "You but mistake interpretation for the truth. And you are wrong. But a mistake is not a sin, nor has reality been taken from its throne by your mistakes. God reigns forever, and His laws alone prevail upon you and upon the world. His Love remains the only thing there is. Fear is illusion, for you are like Him."
In order to heal, it thus becomes essential for the teacher of God to let all his own mistakes be corrected. If he senses even the faintest hint of irritation in himself as he responds to anyone, let him instantly realize that he has made an interpretation that is not true. Then let him turn within to his eternal Guide, and let Him judge what the response should be. So is he healed, and in his healing is his pupil healed with him. The sole responsibility of God's teacher is to accept the Atonement for himself. Atonement means correction, or the undoing of errors. When this has been accomplished, the teacher of God becomes a miracle worker by definition. His sins have been forgiven him, and he no longer condemns himself. How can he then condemn anyone? And who is there whom his forgiveness can fail to heal?
# A Course in Miracles/Manual for Teachers/How Is Peace Possible in this World?
### How Is Peace Possible in this World?

This is a question everyone must ask. Certainly peace seems to be impossible here. Yet the Word of God promises other things that seem impossible, as well as this. His Word has promised peace. It has also promised that there is no death, that resurrection must occur, and that rebirth is man's inheritance. The world you see cannot be the world God loves, and yet His Word assures us that He loves the world. God's Word has promised that peace is possible here, and what He promises can hardly be impossible. But it is true that the world must be looked at differently, if His promises are to be accepted. What the world is, is but a fact. You cannot choose what this should be. But you can choose how you would see it. Indeed, you must choose this.
Again we come to the question of judgment. This time ask yourself whether your judgment or the Word of God is more likely to be true. For they say different things about the world, and things so opposite that it is pointless to try to reconcile them. God offers the world salvation; your judgment would condemn it. God says there is no death; your judgment sees but death as the inevitable end of life. God's Word assures you that He loves the world; your judgment says it is unlovable. Who is right? For one of you is wrong. It must be so.
The text explains that the Holy Spirit is the Answer to all problems you have made. These problems are not real, but that is meaningless to those who believe in them. And everyone believes in what he made, for it was made by his believing it. Into this strange and paradoxical situation, -- one without meaning and devoid of sense, yet out of which no way seems possible, -- God has sent His Judgment to answer yours. Gently His Judgment substitutes for yours. And through this substitution is the un-understandable made understandable. How is peace possible in this world? In your judgment it is not possible, and can never be possible. But in the Judgment of God what is reflected here is only peace.
Peace is impossible to those who look on war. Peace is inevitable to those who offer peace. How easily, then, is your judgment of the world escaped! It is not the world that makes peace seem impossible. It is the world you see that is impossible. Yet has God's Judgment on this distorted world redeemed it and made it fit to welcome peace. And peace descends on it in joyous answer. Peace now belongs here, because a Thought of God has entered. What else but a Thought of God turns hell to Heaven merely by being what it is? The earth bows down before its gracious Presence, and it leans down in answer, to raise it up again. Now is the question different. It is no longer, "Can peace be possible in this world?" but instead, "Is it not impossible that peace be absent here?"
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/63

4.—Moavia Ibn Mughira.
[Sidenote: The execution of Moavia Ibn Mughira.]
Moavia Ibn Mughira, also a prisoner of war, was granted three days' truce, on the condition that if he were found in Medina after the appointed time, he was to be executed. The period had passed, and he was still lurking at Medina. At length he was found out and killed by Zeid and Ammar on their return from Hamra-al-Assad, after five or six days. It is apparent that Moavia violated his truce, and his lurking in Medina might be either as a spy or scout secretly seeking information.

## Footnotes

* ↑ Ibn Hisham, p. 591; Wackidi, pp. 324 and 325.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/64

[Sidenote: 64. Justification of Mughira's execution.]
Sir W. Muir, who calls him Othmân Ibn Mughîra, makes out a favourable case in his behalf. He writes: He "incautiously lingered at Medîna till the last day of his term of grace, when he set out for Mecca." But Ibn Hisham distinctly writes that he "stayed at Medina after the three days had passed and was found lurking there." Even according to Wackidi he was caught on the fourth day. But this is far from truth, for, according to his own account, Mohammad was absent after the battle of Ohad for five days at Hamra-al-Assad; then how he (Ibn Mughira) could have endeavoured to avoid the returning Moslem force from Hamra-al-Assad, and lose his way, as Sir W. Muir gives it out, only on the fourth day?
One of the enemies, who had invaded Medina and attacked Mohammad, was, after being captured, allowed three days' truce on explicit conditions that he was to be killed there if found after three days, and was also provided with a camel and provisions for the way, was discovered lurking thereabout on the fifth or sixth day, in consequence of which he lost his life. This is called by Sir W. Muir as being "perished by a too great confidence in the generosity of his enemy,"—i.e., Mohammad.

## Footnotes

* ↑ The Life of Mahomet, by Sir W. Muir, Vol. III, p. 185.
* ↑ Muir's Life of Mahomet, Vol. III, 185.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/67

Kind Treatment of the Prisoners of War by Mohammad.
[Sidenote: 67. The Koran enjoins, the prisoners of war to be either freely liberated or ransomed, but neither executed nor enslaved.]
The prisoners of war were always treated kindly by Mohammad, and the ancient practice of killing and enslaving them was much discouraged and abolished by the Koran.
"And when ye meet those who misbelieve, then strike off heads until ye have massacred them, and bind fast the bonds!"
"Then either a free grant (of liberty) or a ransom until the war shall have laid down its burdens."—Sura, xlvii, 4 and 5.
Regarding the prisoners of Badr Sir W. Muir writes: "In pursuance of Mahomet's commands, the citizens of Medina, and such of the refugees as possessed houses, received the prisoners and treated them with much consideration." "Blessing be on the men of Medina!" said these prisoners in latter days. "They made us ride, while they themselves walked; they gave us wheatened bread to eat, when there was little of it, contenting themselves with dates." It is not surprising that when, some time after, their friends came to ransom them, several of the prisoners who had been thus received declared themselves adherents of Islam: and to such the Prophet granted a liberty without the usual payment.
The prisoners of the Bani Mustalik were released without paying any ransom.
The Bani Hawazin were made prisoners of war at Honain, fought in the eighth year of the Hegira, but were all set free without any exaction of ransom from them. Mohammad first released his prisoners, and the men of Mecca and Medina cheerfully followed his example. The prisoners were six thousand in number.
A party of eighty, as related by Moslim in his Saheeh, or of forty or fifty Koreish, as narrated by Ibn Hisham (p. 745), went round about Mohammad's camp while stationed at Hodeibia in A.H. 6, seeking to cut off any stray followers, and having attacked the camp itself with stones and arrows, they were caught and taken prisoners to Mohammad, who, with his usual generosity, pardoned and released them.
Khalid-Ibn-Waleed, in the year of his victory, A.H. 11, when he was sent to call the Bani Jazima to embrace Islam, had made them prisoners and ordered their execution. Some of the better-informed of the Moslems of the injunctions of the Koran, of releasing prisoners either freely or by exacting ransom, interposed and accused him of committing an act of the Time of Ignorance. Mohammad, much displeased, grieved at the intelligence, and said twice, 'O God! I am innocent of what Khalid hath done.'

## Footnotes

* ↑ Muir's Life of Mahomet, Vol. II, pp. 122 and 123.
* ↑ Ibid, Vol. III, p. 243.
* ↑ Ibid, Vol. IV. pp. 148 and 149.
* ↑ Ibn Hisham, p. 877.
* ↑ Ibn Hisham, pp. 833 and 835.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/62

3.—Abul Ozza.
[Sidenote: 62. Abul Ozza proved a traitor and was executed.]
Abul Ozza, one of the prisoners of Badr, was allowed his freedom without any ransom, on the condition that he would never again bear up arms in any war against the Prophet; but he proved a traitor. He exhorted the Arabs to make war on Mohammad, and joined himself the invading army of Mecca. He was doomed to misfortune, he was caught at Hamra, and duly executed. This was in full accordance with the laws and usages of war (vide ante, para. 58).

## Footnotes

* ↑ Wackidi, p. 105; Hishami, p. 591; Insán-ul-Oyoon or Sírat Halabí, Vol. II, p. 464.