OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of the Targumim, the Talmud Babli and Yerushalmi, and the Midrashic Literature/ש

    ש - שאט
    שאט - שאל
    שאל - שאלא
    שאלא - שאר
    שאר - שבא
    שבא - שבועה
    שבועה - שבח
    שבח - שבט
    שבט - שכיל
    שכיל - שבכה
    שבכה - שבע
    שבע - שבקא
    שבקא - שבר
    שבר - שבשא
    שבשא - שבת
    שבת - שגביון
    שגביון - שגי
    שגי - שגרונא
    שגרונא - שדא
    שדא - שדך
    שדך - שדפונא
    שדפונא - שהי
    שהי - שואבה
    שואבה - שובל
    שובל - שווח
    שווח - שוחה
    שוחה - שוטה
    שוטה - שוי
    שוי - שוכלא
    שוכלא - שולמית
    שולמית - שום
    שום - שומר
    שומר - שוע
    שוע - שוף
    שוף - שופיא
    שופיא - שוק
    שוק - שור
    שור - שוש
    שוש - שושנתא
    שושנתא - שזוג
    שזוג - שחוף
    שחוף - שחט
    שחט - שחיקותא
    שחיקותא - שחם
    שחם - שחץ
    שחץ - שחק
    שחק - שחרור
    שחרור - שטוף
    שטוף - שטיותא
    שטיותא - שטף
    שטף - שטרא
    שטרא - שיבולא
    שיבולא - שיגגושתא
    שיגגושתא - שיובא
    שיובא - שיחלייא
    שיחלייא - שייא
    שייא - שיירא
    שיירא - שילוח
    שילוח - שימי
    שימי - שיסוע
    שיסוע - שיפה
    שיפה - שיפיות
    שיפיות - שיקטנא
    שיקטנא - שירו
    שירו - שישורא
    שישורא - שכב
    שכב - שכור
    שכור - שכיב
    שכיב - שכל
    שכל - שכם
    שכם - שכר
    שכר - שכשוך
    שכשוך - שלדא
    שלדא - שלווה
    שלווה - שלח
    שלח - שלחא
    שלחא - שלטון
    שלטון - שליביא
    שליביא - שלילית
    שלילית - שלך
    שלך - שלם
    שלם - שלמאה
    שלמאה - שלפופי
    שלפופי - שלש
    שלש - שלשל
    שלשל - שם
    שם - שמד
    שמד - שמועה
    שמועה - שמחזאי
    שמחזאי - שמטא
    שמטא - שמינונית
    שמינונית - שמם
    שמם - שמן
    שמן - שמע
    שמע - שמעא
    שמעא - שמר
    שמר - שמש
    שמש - שמשוך
    שמשוך - שנא
    שנא - שנרא
    שנרא - שני
    שני - שניאתא
    שניאתא - שס
    שס - שעבד
    שעבד - שעוה
    שעוה - שעירן
    שעירן - שעף
    שעף - שערא
    שערא - שפה
    שפה - שפי
    שפי - שפיכה
    שפיכה - שפך
    שפך - שפלה
    שפלה - שפע
    שפע - שפר
    שפר - שקד
    שקד - שקט
    שקט - שקיף
    שקיף - שקמונה
    שקמונה - שקערורות
    שקערורות - שקר
    שקר - שר
    שר - שרבט
    שרבט - שרון
    שרון - שרי
    שרי - שרי
    שרי - שרכא
    שרכא - שרף
    שרף - שרק
    שרק - שרש
    שרש - שש
    שש - שתוקי
    שתוקי - שתיא
    שתיא - שתל
    שתל - שתף
    שתף - ת
# A Dictionary of Music and Musicians/Double Bass

From volume 1 of the work.
​DOUBLE BASS (Ital. Contrabasso or Violone) is the largest of the stringed instruments played with a bow. Whether it was invented before or after the violin is still an unsettled question. In its forms it has some of the characteristics of the older gamba tribe, viz. the flat instead of the arched back, and the slanting shoulder; while, on the other hand, it has the four corners, the f-holes, and in every respect the belly of the violin, thus appearing to be a combination of the gamba and the violin, and therefore probably of a date posterior to both.
This and other similar musical barbarities were committed, until at the Crystal Palace the sensible plan was adopted of having half the number of the basses with four, and the other half with three stringc, thus avoiding the mutilation of phrases like the above, without sacrificing the greater ​richness of tone which is claimed for the three-stringed instrument.
If the violin is the leader of the orchestra, the double bass is its foundation. To it is given the lowest part, on which both harmony and melody rest. The English term 'double bass' has probably been applied to the instrument because it often doubles in the lower octave the bass of the harmony, given to the bass voice, the violoncello, the bassoon, or some other instrument. In a similar way the 32-feet stop of the organ is termed double diapason because it doubles a 16-feet diapason in the lower octave.
This doubling of the bass part was for a long time, with rare exceptions, the sole function of the double bass, and it is only since the beginning of the 19th century that we meet, in the scores of Haydn, and more frequently in those of Beethoven, with independent double-bass passages. The double bass from its very nature—its tone, when heard alone, being somewhat rough, and its treatment, owing to its large dimensions, very difficult—is essentially an orchestral rather than a solo instrument, and as such it is with the violin the most important and indispensable one. The solo performances of Bottesini and a few other celebrated double bass players, are exceptions which prove the rule for any one who has heard them. In fact these virtuosi do not play on full-sized double basses, but use the basso di camera, an instrument of considerably smaller dimensions.
[ P. D. ]
# A Dictionary of Music and Musicians/Double Stopping

From volume 1 of the work.
​DOUBLE STOPPING is sounding on the violin or other instrument of that tribe two notes simultaneously. Such notes are termed 'double stops.' An 'open note' is produced by merely striking the string with the bow without touching it with the fingers of the left hand—so that the string vibrates in its whole length. A 'stopped note' is a note produced by putting a finger of the left hand on the string, so that the vibration of the string is 'stopped' at a certain point.
[ P. D. ]
# A Dictionary of Music and Musicians/Double Chant

From volume 1 of the work.
​DOUBLE CHANT, a chant equal in length to two single chants, and covering two verses; peculiar to the English church, and not introduced till after the Restoration. [Chant, p. 338.]
# A Dictionary of Music and Musicians/Double Counterpoint

From volume 1 of the work.
​DOUBLE COUNTERPOINT is the accompaniment of a subject or melody by another melody, so contrived as to be capable of use either below or above the original subject. See examples given under Counterpoint (p. 408).
# A Dictionary of Music and Musicians/Double Flat

From volume 1 of the work.
​DOUBLE FLAT. If the flat lowers a note by a semitone, the double flat lowers it by two. The sign for the double sharp is abbreviated, but that for the double flat remains simply ♭♭, the corrective to which is either ♮♭ or ♭ at pleasure. On keyed instruments the double flat of a note is a whole tone lower:—thus A♭♭ = G♮, C♭♭ = B♭. The French term is double bémol; the German one doppel-B. The German nomenclature for the notes is Eses, Asas, Deses, etc.
# A Dictionary of Music and Musicians/Double Bar

From volume 1 of the work.
​DOUBLE BAR divides a piece or a movement into main sections, and when accompanied by dots indicates that the section on the same side with the dots is to be repeated.
The double bar is a principal feature in the symphony or sonata. In the first movement it occurs at the end of the first section, which is then repeated, and is followed by the working out, or Durchführung. In the symphonies before Beethoven, and in Beethoven's own earlier sonatas, the second section was often repeated as well as the first. In the minuet, or scherzo, with trio, both sections of each are repeated, and then after the trio the minuet is given again without the repetitions.
# A Dictionary of Music and Musicians/Double Fugue

From volume 1 of the work.
​DOUBLE FUGUE, a common term for a fugue on two subjects, in which the two start together, as in the following, by Sebastian Bach:—
[ G. ]
# A Dictionary of Music and Musicians/Double Bassoon

From volume 1 of the work.
​DOUBLE BASSOON (It. Contrafagotto; Fr. Contrebasson; Ger. Contrafagott, Doppelfagott). The contrafagotto or double bassoon, in pitch an octave below the ordinary bassoon, is not by any means a new instrument; but the older instruments were of feeble rattling tone, rendered unwieldy by unsuccessful attempts to obtain the B♭ of the 32-foot octave. It has been considerably improved by Herr Haseneier of Coblenz, and subsequently by the writer, who has introduced it into English orchestras.
The double bassoon as made on the writer's design by Haseneier consists of a tube 16 feet 4 inches long, truly conical in its bore, enlarging from ¼ inch diameter at the reed to 4 inches at the bell. It is curved four times on itself for convenience of manipulation, so that the length of the instrument is about equal to that of the ordinary bassoon. Its extreme compass is three octaves, from CCC upwards to middle C—see example (a). Its ordinary range, however, should be limited to the tenor G, the notes above this being rather difficult to produce.
It possesses every semitone of the diatonic scale throughout its compass, and is therefore able to play in any key with moderate facility. The scale is founded on the octave harmonic, and continued by means of the twelfth. From CCC to FF (b), only a single sound is obtained by each key. Between the latter note and its double octave (c), the same fingering produces two sounds of an octave, simply by change of embouchure and greater pressure of wind. With the four-foot F♯ a new harmonic sound begins, using the fingering of the eight-foot B♮, and again increasing the wind-pressure. Seven semitones thus procured carry the tone up to the C above (d), which is the fourth C inclusive from the foundation note. It must be remembered, however, that the orchestral part for this instrument, like that of the double bass, is always written an octave higher than the real sound, to avoid ledger lines.
The holes from which the sound issues are of graduated size, increasing downwards with the size of the bore. They are placed as a rule in their correct positions, so as to cut off the proper portion of tube corresponding to the elevation of the note. Mechanism is adapted to them, to bring them within reach of the fingers. To enable the player to distinguish what are called 'open' from closed holes, a different shape is given to the terminations of the levers. The first three fingers of each hand, which have to keep closed the six open notes of the ordinary bassoon, fall into saddle-shaped recesses worked in the brass of the key; whereas the two little fingers and the thumbs touch the cushion-shaped surface of keys similar to those used on other wind instruments. It is, in consequence, very easy for any person accustomed to the ordinary bassoon to adapt his playing to this. The saddle-shape of the key also serves to support the upper joints of the finger, and to throw the labour of closing the hole more on the powerful muscles of the forearm than on the weaker fabric of the hand itself.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Double Concerto

From volume 1 of the work.
​DOUBLE CONCERTO, a concerto for two solo instruments and orchestra, as Bach's for two Pianos, Mozart's for Violin and Viola (Köchel, 364); or Mendelssohn's (MS.) for Piano and Violin.
# A Dictionary of Music and Musicians/Double Sharp

From volume 1 of the work.
​DOUBLE SHARP raises a note by two semitones, and is denoted by a ×, probably an abbreviation of ♯♯. It is singular that the sign should be a less complicated one than that for the single sharp. On instruments of fixed intonation C× = D♮, E× = F♯, etc. The French call it double dièse, and the Germans doppel kreuz. The Germans call the notes eisis, fisis, gisis, etc.
# A Dictionary of Music and Musicians/Schilling, Gustav

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

From volume 3 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Schicht, Johann Gottfried

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

From volume 3 of the work.
​SCHEURMANN, Gustav, a native of Prussia, commenced the practical working of his patent processes of type-music-printing in 1856, at 86 Newgate Street, where he had been long established as a music publisher, and keeper of a circulating library of music. Feeling that music-printing was capable of much improvement, he devoted himself with extraordinary zeal to the perfecting of the various features of his patents (May 17, and Oct. 11, 1856). His chief aims were the production of an inexpensive kind of music-type, which would cost less for setting up; an easy mode of transposing to various keys; and a marked improvement in the general appearance of the music. Everything was done under his own supervision. Punch-cutters, type-founders, compositors, pressmen, and electrotypers were engaged, and rapid progress made, the various processes being carried out upon the premises. The mode of procedure was to set up the notes and various characters in one 'forme,' and the staves, formed of brass rules, in another, bringing the two together for proofs or printing. The press used for this purpose was one of peculiar construction. Both 'formes' were placed upon the same 'table,' and, by a very simple arrangement, good register secured in two pulls. The main feature of the process consisted in impressing the two 'formes' into one mould, and from that mould producing a perfect electro musicplate. [See Music-Printing, vol. ii. p. 433.]
Nothing could exceed the perfection of the specimens obtained by double printing; there being no joins, each type represented an entire character.
[ W. H. ]
# A Dictionary of Music and Musicians/Schiedmayer

From volume 3 of the work.
​SCHIEDMAYER. There are now two firms of this name in Stuttgart, both enjoying wide reputation as pianoforte-makers, viz. 'Schiedmayer & Sons,' and 'Schiedmayer, Pianofortefabrik; vormals, J. & P. Schiedmayer.' The heads of these firms are the grandsons and great-grandsons of Johann David Schiedmayer, who towards the close of last century was a musical instrument maker at Erlangen, and afterwards at Nuremberg, where he died in 1806. His son Johann Lorenz, went after this for two years to Vienna as a workman, and in 1809 established a business at Stuttgart in partnership with C. F. Dieudonne' (who died in 1825). Before that time pianoforte-making was as good as unknown in Stuttgart; those who required satisfactory instruments obtaining them from Vienna. Lorenz Schiedmayer's intelligence and aptness for business gained a position for his firm, and it soon became one of the first in Germany. In 1845 Lorenz united his two eldest sons, Adolf and Hermann, to himself, and 'Schiedmayer & Sons' soon became as well known in foreign countries as in Würtemberg. Lorenz died in 1860 and his son Hermann in 1861. The sons of the brothers Adolf and Hermann, bearing the same Christian names, have been for some years the directors of this firm, which has made both concert and ordinary instruments, and has competed with success in London and Paris and other exhibitions. The two younger sons, Julius and Paul, at first devoted themselves to harmonium-making, a practical knowledge of which, then of recent introduction, had been gained by Paul in Paris. They started together in 1854, but after the death of the father, in 1860, turned to pianoforte-making in competition with the elder firm. Julius died in January 1878, and the younger firm has since been known as 'Schiedmayer, Pianofortefabrik.'
[ A. J. H. ]
# A Dictionary of Music and Musicians/Schindelmeisser, Louis

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

From volume 3 of the work.
[ G. ]
# A Dictionary of the Book of Mormon/Lehi, the son of Helaman

​LEHI, THE SON OF HELAMAN. Were we to attempt to sketch the life of Lehi, we should simply have to repeat the most striking features of that of his elder brother, Nephi. In their labors, journeyings, ministrations, etc., they seem to have always been together. Like Samuel of old, in their childhood they "began to grow up unto the Lord," and in riper years they lived to His glory. In speaking of the exalted character of Nephi, the historian adds, "And behold, Lehi, his brother, was not a whit behind him as to things pertaining to righteousness.”
The date of Lehi's birth is not recorded. In the year B. C. 44, the fact that Helaman had two sons, named Nephi and Lehi, is mentioned; but at that time they must have grown to manhood, as their public labors began shortly after. Lehi accompanied his brother in his extended labors throughout the lands of the Nephites; he was with him in prison among the Lamanites, in the city of Lehi-Nephi, at the time of the great manifestation of God's power, and the conversion of the greater part of that people to the service of the true God; he went with Nephi to the northern continent, and labored there several years. Again we hear of them (B. C. 13) still laboring in the might of Jehovah and the powers of the priesthood for the salvation of the souls of men. After this we lose sight of Lehi, the date, the place, or circumstances of his death are not stated.
# A Dictionary of the Book of Mormon/Lehi-Nephi, City of

​LEHI-NEPHI, OR NEPHI, CITY OF. The capital city of the land occupied by the Nephites, for a period of uncertain length, immediately preceding the exodus of the righteous portion of the race to Zarahemla, under Mosiah I, rather more than two hundred years before Christ. It is supposed to have been situated in the region known to moderns as Ecuador. When the Nephites evacuated this city, the ​Lamanites took possession of it, and held it, until, by treaty between king Laman and Zeniff, it was, with the surrounding district, ceded to the Nephite colony that had returned from Zarahemla. It now became the chief city of this branch of the race, and Zeniff, Noah and Limhi reigned there as kings. The Nephites, finding that the indolent Lamanites had permitted it to fall into decay, went to work to repair its walls and residences, and in the days of king Noah it was greatly beautified and improved. Among its other buildings it contained a temple, near to which king Noah built a high tower. It was in this city that Abinadi was martyred, and on its outskirts, shortly after, Alma, the elder, established a Christian Church at the waters of Mormon. Lehi-Nephi was again evacuated by the Nephites, B. C. 122; when it was again possessed by the Lamanites, and was made by them the capital of the whole land of Nephi, and the abode of their head king. Aaron, the son of Mosiah, found the chief monarch (the father of Lamoni) residing there when he went up to the land of Nephi to preach the gospel to the Lamanites (about B. C. 85). Lehi and Nephi, the sons of Helaman, were cast into prison in this city, when they ministered among the Lamanites; and it was in this prison that there was such a glorious manifestation of the power of God in their behalf, that resulted in the conversion of so many thousand Lamanites. (B C. 30.)
# A Dictionary of the Book of Mormon/Lemuelites

​LEMUELITES. The descendants of Lemuel. They formed a portion of the Lamanite nation, but do not appear to have taken a prominent position in the conduct of its affairs. The descendants of Laman were the controlling ​element in the race, in whose movements the Lemuelites acquiesced.
# A Dictionary of the Book of Mormon/Lehonti

​LEHONTI. A Lamanite officer, chosen by the opponents of the war policy of the reigning sovereign, as their leader in their armed resistance to the royal proclamation (B. C. 73).
When the Nephite traitor, Amalickiah, fled to the Lamanites, the first step he took to accomplish his ambitious, though at present defeated, purposes, was to excite public feeling against the Nephites. The king gave way before his wiles and persuasiveness, but the great mass of the people, not being brought in contact with his brilliant person and shining abilities, were averse to hostilities. They too well remembered the horrors and disasters of the previous campaign. Amalickiah had, however, gained such influence over the king's mind that he was inexorable, and insisted on the invasion of Zarahemla. For this purpose, he issued a proclamtion and sent it among all his subjects, commanding them to gather to his standard. The people greatly dreaded the arbitrary power of the throne, but they feared the Nephites more. Consequently, many refused to heed the proclamation, and assembled themselves at Onidah, the place of arms, for protection against an army the king had placed under the command of Amalickiah to bring them to terms, and which was now rapidly advancing towards them. Here they chose Lehonti as their leader and king, for they were strong in their determination not to go to war with the Nephites. Lehonti assembled his forces on a mount called Antipas, and there awaited the arrival of the royal troops.
Lehonti, however, little knew the temper or ​craft of the man with whom he was dealing. Amalickiah had no intention to spill Lamanite blood. He wanted their friendship now, that he might use them as his willing tools hereafter. To this end, when night came, he sought an interview with Lehonti, who, fearing treachery, refused to go down near to his camp. Three times did Amalickiah send his message, and as often was the proposal declined. At last, the plotter went up the mountain, to near where Lehonti's camp was situated, and there told him to come out and meet him, and if he feared any evil, to bring his guard with him. This time the cautious Lehonti acquiesced. At the interview that followed, Amalickiah agreed to surrender his forces to Lehonti, on condition that he (Amalickiah) should be placed second in command of the united forces. The plot was successfully carried out. Lehonti surrounded the royal troops before morning; they, seeing their predicament, were loth to do battle with their countrymen and pleaded with their commander to surrender. This he did, for it was exactly what he had been working for. Lehonti faithfully carried out the terms of the agreement and placed Amalickiah second in command. The conscienceless traitor soon removed the commander-in-chief; Lehonti was killed by slow poison, administered by a creature of his subordinate, and Amalickiah assumed supreme command.
# A Dictionary of the Book of Mormon/Lemuel

​LEMUEL. The second son of Lehi and Sariah, born in Jerusalem, about B. C. 620 or 625. He appears in history as the shadow of his elder brother, Laman; where the latter led he followed, but lacked, to some extent, the active, aggressive malignity of Laman's turbulent and vindictive character. In all the rebellions in the Arabian wilderness, in all the murmurings against the providences of the Lord, in all the inhuman assaults upon Nephi, Lemuel sided with and ​sustained Laman, and when, after the death of Lehi, the colony divided, Lemuel and his family joined their fortunes to that of his elder brother. Of Lemuel's domestic life we only know that he married a daughter of Ishmael. Of the time and place of his death we are told nothing. The descendants of Lemuel appear to have inherited the characteristics of their progenitor — they took a secondary place in the Lamanite nation, and we do not read of one prominent charactler, either in Nephite or Lamanite history, who was descended from him.
# A Dictionary of the Book of Mormon/Lemuel, City of

​LEMUEL, CITY OF. A city of the Lamanites, whose inhabitants were converted to the Lord by the preaching of the sons of Mosiah, and became a portion of the people of Anti-Lehi-Nephi. They, no doubt, afterwards suffered in the ruthless persecutions inflicted upon the Christian Lamanites, and those who survived migrated to the land of Jershon, with the rest of their brethren. (B. C. 78).
# A Dictionary of the Book of Mormon/Lehi-Nephi, Land of

​LEHI-NEPHI, LAND OF. A small division of the land of Nephi, originally settled by the Nephites, but after their departure it was taken possession of by the Lamanites, and by them made the chief centre of their government. It appears to have been simply the valley in which the city of Lehi-Nephi stood, but because it at one time comprised all the territory occupied by the Nephites, ​whence they spread out and colonized, it is more often called the land of Nephi than the land of Lehi-Nephi; but it must not be confounded with the larger land of Nephi which grew out of it. This smaller land of Nephi is supposed to have been situated in the country now called Ecuador.
# A Dictionary of the Book of Mormon/Lehi (II)

​LEHI. The son of Zoram, the commander of the Nephite armies, B. C. 81. (See Aha.)