OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Cabel, Marie

From volume 1 of the work.
[ G. ]
[App. p.574 "Correct the existing article by the following:—Her name was properly Cabu; she studied at the Conservatoire in 1848–9, and in the latter year made her début at the Opéra Comique, with little effect, in 'Val d'Andorre' and 'Les Mousquetaires de la Reine.' She was next engaged at Brussels for three years, and obtained a great success. After performances at Lyons and Strassburg she was engaged at the Lyrique, Paris, for three years, and made her first appearance Oct. 6, '53, as Toinon, on production of 'Le Bijou Perdu ' (Adam). She also appeared in new operas, viz. 'La Promise' (Clapisson), Mar. 16, '54, and 'Jaguarita l'Indienne' (Halévy), May 14, '55. In 1854 she came to England with the Lyrique company. She first appeared on June 7 in 'Le Bijou' and made a great success in the 'Promise,' 'Fille du Régiment,' and 'Sirène,' in spite of the inferior support given by the above company. On Feb. 23, '56, she reappeared at the Opéra Comique on the production of 'Manon Lescaut' (Auber), and remained there until 1861, her best new parts being Catherine, on the revival of 'L'Étoile du Nord'; and April 4, '59, as Dinorah on the production of 'Le Pardon de Ploërmel.' In 1860 she played the Figlia, etc., as described in vol. i., renewed her successes in revivals of 'Le Bijou,' 'Jaguarita,' and appeared as Féline on the production of 'La Chatte merveilleuse' (Grisar), March 18, '62. In 1861 she was again at the Lyrique, and on March 21, '63, played in 'Così fan Tutte,' with a new libretto adapted to 'Love's Labour's Lost.' From 1865–70 she was again at the Opéra Comique, and among her new parts were Philine in 'Mignon,' Nov. 17, '66, and 'Hélène, Le Premier Jour de Bonheur,' Feb. 15, '68. In '71 she sang at the New Philharmonic and other concerts, and in '72 sang in French opera at the Opéra Comique, London, in the 'Fille du Régiment,' 'L'Ambassadrice,' and 'Galathée,' and was well received, though the company was bad, and the theatre much too small for important opera. She played in the French provinces until 1877, but in '78 was struck with paralysis, from which she never wholly recovered. She died at Maisons Laffitte, May 23, '85.
[ A. C. ]
# A Dictionary of Music and Musicians/Cadeac, Pierre

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

From volume 1 of the work.
​C.The keynote of the 'natural' scale, so called because it requires neither flats nor sharps in its signature. In German also it is C, C♯ being called Cis; but in Italian and French it is called Ut and Do, the former from the name given it by Guido d'Arezzo. [Scale.]
It is the Ionic scale of the Church tones or modes, and in it were written 'Ein' feste Burg,' 'Gott der Vater,' 'Jesaia der Propheten,' 'Vom Himmel hoch,' and others of the earliest German chorales. In the 16th century it was much employed for dance tunes, and perhaps on that account was known as 'il modo lascivo' (Zarlino, in Hullah, 'Hist, of Mod. Music,' Lect. 3). In more modern times it has been rendered illustrious among other masterpieces by Gibbons's 'Hosanna,' the Jupiter and C minor Symphonies, and the Overture to Leonora. Schubert's great Symphony and Handel's 'Dead March in Saul' are written in C major.
Horns and trumpets are made to play the scale of C, and are written in the score in that key; they transpose into the key of the piece by the addition of crooks. The drums used formerly to be given in the score in the key of C, with an indication, at the beginning of the movement, of the key in which they were to be tuned. But they are now usually printed as played.
As a sign of time stands for common time, 4 crotchets in a bar; and for allabreve time, with 2 or 4 minims in a bar.
[ G. ]
# A Dictionary of Music and Musicians/Cabinet Piano

From volume 1 of the work.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Caccini, Giulio

From volume 1 of the work.
​CACCINI, Giulio, a native of Rome, known also as Giulio Romano, born, according to the preface of his own 'Nuove Musiche,' in 1558 or 1560. He learned to sing and play the lute from Scipione della Palla, and in 1578 removed to Florence, where he remained till his death in 1640. Great as a singer he was still greater as a reformer in music. Though neither harmonist nor contrapuntist, it was he who, following the lead of V. Galilei, first gave countenance and importance to music for a single voice. The recitatives which he composed and sang to the accompaniment of the theorbo, amid the enthusiastic applause of the musical assemblies meeting at the houses of Bardi and Corsi in Florence, were a novelty of immense significance. They were the first attempt to make music dramatic, to use it as the expression of emotion. From such small beginnings he proceeded to detached scenes written by Bardi, and thence to higher flights. The pastoral drama of Dafne, written by Rinuccini and set to music by Caccini and Peri in 1594, and still more the 'Euridice, Tragedia per Musica,' of the same poet and the same musicians in 1600, were the beginnings of the modern opera. Other compositions of Caccini's were the 'Combattimento d'Apolline col Serpente,' 'Il ratto di Cefale' (with Peri), and 'Le nuove Musiche,' a collection of madrigals and canzone for a single voice. 'Euridice' has been published—but with the name of Peri alone attached to it—by Guidi (1863, 8vo.). Caccini's daughter Francesca was celebrated both as a singer and composer.
# A Dictionary of Music and Musicians/Cabaletta

From volume 1 of the work.
[ W. H. C. ]
# A Dictionary of Music and Musicians/Cachucha

From volume 1 of the work.
[ E. P. ]
# A Dictionary of Music and Musicians/Bürde-Ney, Jenny

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

From volume 2 of the work.
​MIXED MODES. Writers on Plain Chaunt apply this term to tonalities which embrace the entire compass of an Authentic Mode, in combination with that of its Plagal derivative: thus, the Mixed Dorian Mode, extends from A, to the next D but one above it; the Mixed Phrygian, ​from B, to the next E but one; the Mixed Lydian, from C, to the next F but one; and the Mixed Mixolydian, from D, to the next G but one. [See Maneria.]
A very fine example of Mixed Mixolydian, (Modes VII and VIII, combined), is to be found in the Melody of 'Lauda Sion.' [See Lauda Sion.]
[ W. S. R. ]
# A Dictionary of Music and Musicians/Mizler, Lorenz

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

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

From volume 2 of the work.
​MIXOLYDIAN MODE. (Lat. Modus Mixolydius; Modus Angelicus.) The Seventh of the Ecclesiastical Modes. [See Modes, the Ecclesiastical.]
The Final of the Mixolydian Mode is G. Its compass, in the Authentic form, extends upwards from that note to its octave; and its semitones occur between the third and fourth, and the sixth and seventh degrees. Its Dominant is D, its Mediant, C (B being rejected, on account of its forbidden relations with F), and its Participant, A. Its Conceded Modulations are B, and E; and its Absolute Initials, G, B, C, D, and sometimes, though not very frequently, A. The subjoined example will give a clear idea of its most prominent characteristics:—
Mode VII.
In its Plagal, or Hypomixolydian form, (Mode VIII, Modus Hypomixolydius. Modus perfectus), its compass lies a Fourth lower—from D to D; and the semitones fall between the second and third, and the sixth and seventh degrees. The Dominant of this Mode is C; B being inadmissible, by reason of its Quinta falsa with F. Its Mediant is F—for which note A is sometimes, though not very frequently, substituted, in order to avoid the false relation of Mi contra Fa, with B. [See Mi contra Fa.] Its Participant is the lower D. Its Conceded Modulations are, the upper D, and B; and its Absolute Initials, the lower C, (below the normal compass of the mode), D, F, G, A, and C.
Mode VIII.
In performance, Mode VII is almost always transposed, in order to escape the high range of its upper notes. Mode VIII, on the contrary, lies well within the compass of ordinary Voices.
The Antiphon, 'Asperges me,' as given in the Roman Gradual, and the Sarum Melody of 'Sanctorum meritis,' printed in the Rev. T. Helmore's 'Hymnal Noted,' may be cited as highly characteristic examples of the use of Mode VII; and an equally perfect illustration of that of Mode VIII will be found in the Melody of 'Iste confessor,' as given in the Roman Vesperal.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Moderato

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Mixture

From volume 2 of the work.
[ E. J. H. ]
# A Dictionary of Music and Musicians/Mock Doctor, The

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

From volume 2 of the work.
​MODE (Lat. Modus; Ital. Modo; Old Eng. Moode). A term employed in mediæval music, to indicate the relative duration of the Large, the Long, and the Breve.
Mode is of two kinds—the Greater, and the Lesser. The former regulates the proportions of the Large (maxima) to the Long: the latter, that of the Long to the Breve. Both kinds may be either Perfect, or Imperfect.
In the Great Mode Perfect, the Large is equal to three Longs. In the Great Mode Imperfect, it is equal to two only.
In the Lesser Mode Perfect, the Long is equal to three Breves. In the Lesser Mode Imperfect, it is equal to two.
The Modal Sign is usually placed after the Clef, like the Time Signature in modern music. Innumerable varieties are found in music of different periods. Even as early as 1597, we find Morley bitterly lamenting the absence of a rule of universal application: and a little attention to the subjoined examples will show that his complaint was not an unreasonable one. The following forms are given by Zacconi:—
Other writers sometimes describe them thus:—
Combinations of the Greater and Lesser Modes are frequently indicated, thus—
In these examples, the Circle is used as the sign of Perfection, and the Semicircle, as that of Imperfection. The rests denote the proportion between the two notes not always accurately, but, in a vague way which accorded well enough with the conventional signification of the figures, when they were in general use, though it fails to explain their real meaning. In Zacconi's formulæ, the groups of rests are doubled—probably for the sake of symmetry. Allowing for this, we shall find that the sign for the Great Mode Perfect exhibits, in every case, the exact number of rests required: viz. three Perfect Long Rests, as the equivalent of a Perfect Large. The same accuracy is observable in the signs for the combined Modes exhibited in the last four examples. But, in the other cases, so great a discrepancy exists between the number of rests indicated, and the true proportion of the notes to which they refer, that the figures can only be regarded as arbitrary signs, sufficiently intelligible to the initiated, but formed upon no fixed or self-explanatory principle.
It will be observed, that, in all the above examples, the rests are placed before the Circle, or Semicircle; in which case it is always understood that they are not to be counted. Sometimes, indeed, they are altogether omitted, and a figure only given, in conjunction with the Circle, or Semicircle. Thus, Morley, following the example of Ornithoparcus, gives ◯ 3 as the sign of the Great Mode Perfect; 🤇 3, as that of the Great Mode Imperfect; ◯ 2 as that of the Lesser Mode Perfect; and 🤇 2 as that of the Lesser Mode Imperfect.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Mixed Cadence

From volume 2 of the work.
[ C. H. H. P. ]
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Morata, (Olympia Fulvia)

MORATA (OLYMPIA FULVIA) born at Ferrara, 1526.
Her father taught polite literature in several cities of Italy; and the report of his great merit advanced him to be preceptor to the young princes of Ferrara, sons of Alphonso I. Having discovered an uncommon capacity and inclination to learning in his daughter, he was induced to cultivate it; and she soon made ​such a progress, as astonished all about her. The princess of Ferrara being at that time studying polite literature, it was judged proper that she should have a companion in the same pursuit, in order to excite emulation. Morata being deemed properly qualified for the purpose, was sent for to court; where she was heard, to the amazement of her auditors, to declaim in Latin, speak Greek, explain the paradoxes of Cicero, and answer any questions that were put to her. Her father dying, and her mother being an invalid, she was obliged to return home, in order to take care of the family affairs, and the education of three sisters and a brother; both which she executed with great applause. Another cause of her removal from court, was said to be a disgust she had some how given the duchess of Ferrara, though on what account is not said. In the mean time, a young German, named Andreas Grunthler, who had studied physic, and taken his doctor's degree at Ferrara, fell in love with her, and married her. With him she went to Germany, and took her little brother with her, whom she carefully instructed in the Latin and Greek languages. They arrived at Augsburgh in 1548; and after a short stay there went to Schweinfurt in Franconia, which was the birth-place of Grunthler. They had not been there long before Schweinfurt was besieged and burnt; but they escaped with their lives, and fled in the utmost distress to Hammelburgh. But even here they were not suffered to make any long stay, and were driven to extremity, when the elector palatine invited Grunthler to be professor of physic at Heidelberg, He entered upon this employment in 1554, thought himself well settled, and began to enjoy life; when Morata was seized with an illness occasioned by the ​distresses and hardships they had undergone, of which after a lingering illness for some months, she died 1555, in the 29th year of her age. She died in the protestant religion, which she embraced on her coming into Germany. She taught French and Latin publickly, and wrote several books, a great part of which were burnt with the town of Schweinfurt. The remainder were collected by Cælius Secundus Curio, and published at Basil, 1558. Her works consist of orations, dialogues, letters, and translations.
Female Worthies.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/More, (Margaret)

MORE (MARGARET), Daughter of Sir Thomas More.
A very learned and accomplished woman, who understood well the Latin and Greek tongues. She wrote a Treatise on the Four last Things. She married a gentleman of the name of Roper, and died in 1544. She comforted her father, during his captivity, and purchased his head of the executioner, which she preserved carefully, and it was buried with her, at St. Dunstan's church, in Canterbury.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Montégut, (Madame de)

Her manners were captivating; she excelled in all the fine accomplishments, and was perfect mistress of the Latin, English, Italian and Spanish languages. She composed a great number of pieces of poetry, which were crowned with success at the Academy des Jeux Floraux. She translated the Odes of Horace, and Pope's|Pope's Eclogues: her other compositions are, Une Ode sur le Printems; une Elégie sur la Conversion de Sainte Madeleine; une Idylle sur la Mort de Mademoiselle de Catelan; une Elégie sur la Coupe d'un Bois. There was also found, after her death, some very elegant poems.
Mrs. Thicknesse.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Montmart, (Mary Magdalen Gabrielle)

In her childhood made herself mistress of Spanish, Italian, and Greek. At the age of fifteen, she was presented to Maria Theresa, when that princess arrived at Paris, and was much admired by the whole court for her eloquence and facility in speaking Spanish. She was intimately acquainted with ancient and modern philosophy and theology; signalized herself in some highly celebrated translations; and employed her pen on morality, criticism, and natural philosophy. Her letters were esteemed such a treasure, that Lewis XIV. always expressed great pleasure at receiving any. Her poems are said to have been ​few, but beautiful; and those, after once reading to her friends, she committed to the flames. She was chosen abbess-general of the congregation of Fontevrard, which presides over a great number of monasteries, and counted among its abbesses 14 princesses, five of the house of Bourbon. This high office she discharged with great ability.
Father Feejoo.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Murat, (Henrietta Julia de Castelnau, Countess de)

MURAT (HENRIETTA JULIA DECASTELNAU, COUNTESS DE)
Was well known in the world of gallantry, and wrote memoirs of her own life: a little romance, called Les Lutins de Kemosi; another romance: Des Contes des Fées; le Voyage de Campagne; and le Comte de Dunois, attributed falsely to M. de Villedieu. She wrote also several little poems.
F. C. &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Musea

MUSEA,
An ancient lyric and epigrammatic poetess; whose epigrams and lyric poems are mentioned by Cælius Rodiginus.
Female Worthies.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Morella, (Juliana)

MORELLA (JULIANA), a Native of Barcelona.
Her father being obliged to quit Spain for a homicide, fled to Lyons, in France, where he cultivated, with much care, the genius of his daughter, who, at the age of twelve, in 1607, publickly maintained theses in philosophy, which she dedicated to Margaret of Austria, queen of Spain. Guy Patin says, that in her 10th year, she held a public disputation, in the Jesuit's ​college, at Lyons. She is said to have been profoundly skilled in philosophy, divinity, music, and jurisprudence; besides speaking fourteen languages. She entered into the convent of St. Praxedis, at Avignon.
Father Feejoo.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Motteville, (Frances-Bertaud, Dame de)

Her mother having been in Italy and Spain, she spoke those languages with great facility, and was therefore honoured with the friendship and confidence of that princess, of which her daughter in some measure partook; but being involved in the disgrace of her mother, with all Anne's favourites, she retired into Normandy, and was married to Nicholas l'Anglois, president de Motreville; but became a widow in two years after. As soon as the queen became regent, she recalled her. Madame de Motteville was much attached to this princess, and Henrietta, the exiled queen of England. Her memoirs contain many remarkable events, and are a faithful picture of the actions and sentiments of the former; the stile of Madame de Motteville is prolix and often obscure. She has introduced a number of moral reflections, which are now very common; but they shew great learning and observation.
She had always had a devotional turn of mind; and after the death of the queen-mother, wrote many pious treatises, and retired from the world.
# A Dictionary of Music and Musicians/Marino Faliero

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

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

From volume 2 of the work.
​MARPURG, Friedrich Wilhelm, eminent writer on music, born 1718 [App. p.711 "Oct 1"] at Marpurgshof, near Seehausen, in Brandenburg. Little is known of his musical education, as Gerber gives no details, although Marpurg furnished him with the history of his life. Spazier ('Leipzig musik. Zeitung,' ii. 553) says that in 1746 he was secretary to General Rothenburg in Paris, and there associated with Voltaire, Maupertuis, D'Alembert, and Rameau; and Eberhard remarks that his acquaintance with good society would account for his refined manners and his tact in criticism. The absence in his works of personality and of fine writing, then so common with musical authors, is the more striking as he had great command of language and thoroughly enjoyed discussion. His active pen was exercised in almost all branches of music—composition, theory, criticism, and history. Of his theoretical works the most celebrated are—the 'Handbuch beim Generalbasse, und der Composition,' founded on Rameau's system (3 parts, 1757–8, Berlin); 'Der kritische Musicus an der Spree' (Berlin, 1750), containing on p. 129 a lucid explanation of the old Church Modes; the 'Anleitung zur Singecomposition' (Berlin, 1758), and the 'Anleitung zur Musik' (Berlin, 1763), both still popular; the 'Kunst das Clavier zu spielen' (1750); the 'Versuch über die musikalische Temperatur' (Breslau, 1776), a controversial pamphlet intended to prove that Kirnberger's so-called fundamental bass was merely an interpolated bass; and the 'Abhandlung von der Fuge,' 62 plates (Berlin 1753–54; 2nd edition 1806; French, Berlin 1756), a masterly summary of the whole science of counterpoint at that period, with the solitary defect that it is illustrated by a few short examples, instead of being treated in connection with composition. This Marpurg intended to remedy by publishing a collection of fugues by well-known authors, with analyses, but he only issued the first part (Berlin, 1758). Of his critical works the most important is the 'Historischkritische Beiträge,' 5 vols. (Berlin, 1744–62 [App. p.711 "1754–78"]). Among the historical may be specified a MS. 'Entwurf einer Geschichte der Orgel,' of which Gerber gives the table of contents; and the 'Kritische Einleitung in die Geschichte der Tonkunst' (Berlin, 1751). A jeu d'esprit, 'Legende einiger Musikheiligen von Simon Metaphrastes dem Jüngeren' (Cologne, 1786), appeared under his pseudonym. Of compositions he published, besides collections of contemporary music, '6 Sonaten für das Cembalo' (Nuremberg, 1756); 'Fughe e capricci' (Berlin, 1777): and 'Versuch in figurirten Chorälen,' vols. i and 2; 'Musikalisches Archiv,' an elucidation of the 'Historisch, kritischen Beiträge,' was announced, but did not appear.
[ F. G. ]
# A Dictionary of Music and Musicians/Markull, Friedrich

From volume 2 of the work.
[ H. S. O. ]