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

From volume 3 of the work.
​READING, John. There were three musicians of these names, all organists. The first was appointed Junior Vicar choral of Lincoln Cathedral, Oct. 10, 1667, Poor Vicar, Nov. 28, 1667, and Master of the Choristers, June 7, 1670. He succeeded Randolph Jewett as organist of Winchester Cathedral in 1675, and retained the office until 1681, when he was appointed organist of Winchester College. He died in 1692. He was the composer of the Latin Graces sung before and after meat at the annual College election times, and the well-known Winchester School song, Dulce Domum'; all printed in Dr. Philip Hayes's 'Harmonia Wiccamica.' The second was organist of Chichester Cathedral from 1674 to 1720. Several songs included in collections published between 1681 and 1688 are probably by one or other of these two Readings. The third, born 1677, was a chorister of the Chapel Royal under Dr. Blow. In 1700 he became organist of Dulwich College. He was appointed Junior Vicar and Poor Clerk of Lincoln Cathedral, Nov. 21, 1702, Master of the Choristers, Oct. 5, 1703, and Instructor of the choristers in vocal music, Sept. 28, 1704. He appears to have resigned these posts in 1707 and to have returned to London, where he became organist of St. John, Hackney, St. Dunstan in the West, St. Mary Woolchurchaw, Lombard Street, and St. Mary Woolnoth. He published 'A Book of New Songs (after the Italian manner) with Symphonies and a Thorough Bass fitted to the Harpsichord, etc.,' and, whilst organist of Hackney, 'A Book of New Anthems.' He was also the reputed composer of the hymn 'Adeste fideles.' He died Sept. 2, 1764.
There was another person named Reading, who was a singer at Drury Lane in the latter part of the 17th century. In June 1695 he and ​Pate, another singer at the theatre, were removed from their places and fined 20 marks each for being engaged in a riot at the Dog Tavern, Drury Lane, but were soon after reinstated.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Ravenscroft, Thomas

From volume 3 of the work.
[ W.H.H. ]
# A Dictionary of Music and Musicians/Rawlings, Thomas

From volume 3 of the work.
[ W. H. H. ]
# A Course in Miracles/Workbook for Students/I merely follow, for I would not lead

I merely follow, for I would not lead.
Father, You are the One Who gave the plan for my salvation to me. You have set the way I am to go, the role to take, and every step in my appointed path. I cannot lose the way. I can but choose to wander off a while, and then return. Your loving Voice will always call me back, and guide my feet aright. My brothers all can follow in the way I lead them. Yet I merely follow in the way to You, as You direct me and would have me go.
So let us follow One Who knows the way. We need not tarry, and we cannot stray except an instant from His loving Hand. We walk together, for we follow Him. And it is He Who makes the ending sure, and guarantees a safe returning home.
# A Course in Miracles/Workbook for Students/I need but call and You will answer me

I need but call and You will answer me.
I am not asked to take salvation on the basis of an unsupported faith. For God has promised He will hear my call, and answer me Himself. Let me but learn from my experience that this is true, and faith in Him must surely come to me. This is the faith that will endure, and take me farther and still farther on the road that leads to Him. For thus I will be sure that He has not abandoned me and loves me still, awaiting but my call to give me all the help I need to come to Him.
Father, I thank You that Your promises will never fail in my experience, if I but test them out. Let me attempt therefore to try them, and to judge them not. Your Word is one with You. You give the means whereby conviction comes, and surety of Your abiding Love is gained at last.
# A Course in Miracles/Workbook for Students/I see no neutral things

I see no neutral things.
This idea is another step in the direction of identifying cause and effect as it really operates in the world. You see no neutral things because you have no neutral thoughts. It is always the thought that comes first, despite the temptation to believe that it is the other way around. This is not the way the world thinks, but you must learn that it is the way you think. If it were not so, perception would have no cause, and would itself be the cause of reality. In view of its highly variable nature, this is hardly likely.
In applying today's idea, say to yourself, with eyes open:
    I see no neutral things because
    I have no neutral thoughts.
Then look about you, resting your glance on each thing you note long enough to say:
    I do not see a neutral ______ because
    my thoughts about ______ are not neutral.
For example, you might say:
    I do not see a neutral wall, because
    my thoughts about walls are not neutral.
I do not see a neutral body, because my thoughts about bodies are not neutral.
As usual, it is essential to make no distinctions between what you believe to be animate or inanimate; pleasant or unpleasant. Regardless of what you may believe, you do not see anything that is really alive or really joyous. That is because you are unaware as yet of any thought that is really true, and therefore really happy.
Three or four specific practice periods are recommended, and no less than three are required for maximum benefit, even if you experience resistance. However, if you do, the length of the practice period may be reduced to less than the minute or so that is otherwise recommended.
# A Course in Miracles/Workbook for Students/I rule my mind, which I alone must rule

I rule my mind, which I alone must rule.
I have a kingdom I must rule. At times, it does not seem I am its king at all. It seems to triumph over me, and tell me what to think, and what to do and feel. And yet it has been given me to serve whatever purpose I perceive in it. My mind can only serve. Today I give its service to the Holy Spirit to employ as He sees fit. I thus direct my mind, which I alone can rule. And thus I set it free to do the Will of God.
Father, my mind is open to Your Thoughts, and closed today to every thought but Yours. I rule my mind, and offer it to You. Accept my gift, for it is Yours to me.
# A Course in Miracles/Workbook for Students/I love You, Father, and I love Your Son

I love You, Father, and I love Your Son.
My gratitude permits my love to be accepted without fear. And thus am I restored to my reality at last. All that intruded on my holy sight forgiveness takes away. And I draw near the end of senseless journeys, mad careers and artificial values. I accept instead what God establishes as mine, sure that in that alone I will be saved; sure that I go through fear to meet my Love.
Father, I come to You today, because I would not follow any way but Yours. You are beside me. Certain is Your way. And I am grateful for Your holy gifts of certain sanctuary, and escape from everything that would obscure my love for God my Father and His holy Son.
# A Course in Miracles/Workbook for Students/I offer only miracles today

Lesson 345
I offer only miracles today,
For I would have them be returned to me.
Father, a miracle reflects Your gifts to me, Your Son. And every one I give returns to me, reminding me the law of love is universal. Even here, it takes a form which can be recognized and seen to work. The miracles I give are given back in just the form I need to help me with the problems I perceive. Father, in Heaven it is different, for there, there are no needs. But here on earth, the miracle is closer to Your gifts than any other gift that I can give. Then let me give this gift alone today, which, born of true forgiveness, lights the way that I must travel to remember You.
Peace to all seeking hearts today. The light has come to offer miracles to bless the tired world. It will find rest today, for we will offer what we have received.
# A Course in Miracles/Workbook for Students/I see all things as I would have them be

I see all things as I would have them be.
Perception follows judgment. Having judged, we therefore see what we would look upon. For sight can merely serve to offer us what we would have. It is impossible to overlook what we would see, and fail to see what we have chosen to behold. How surely, therefore, must the real world come to greet the holy sight of anyone who takes the Holy Spirit's purpose as his goal for seeing. And he cannot fail to look upon what Christ would have him see, and share Christ's Love for what he looks upon.
I have no purpose for today except to look upon a liberated world, set free from all the judgments I have made. Father, this is Your Will for me today, and therefore it must be my goal as well.
# A Dictionary of Music and Musicians/Participant

From volume 2 of the work.
​PARTICIPANT (from the Lat. participare, to share in). One of the 'Regular Modulations' of the Ecclesiastical Modes. [See Modes, the Ecclesiastical; Modulations, Regular and Conceded.]
The Participant, though less significant, as a distinguishing feature of the Mode, than either the Final, the Dominant, or the Mediant, is of far greater importance than any of the Conceded Modulations. In the Authentic Modes, its normal position lies, either between the Final and the Mediant, or between the Mediant and the Dominant; with the proviso, that, should two notes intervene between the Mediant and Dominant, either of them may be used as the Participant, at will. In the Plagal Modes it is always the lowest note of the Scale, unless that note should be B or F; in which cases, C or G are substituted, in order to avoid the False Relation of Mi contra Fa: it is therefore always coincident, in name, with the Authentic Dominant, though it is not always found in the same Octave. In some cases, however, either Octave may be used indiscriminately as the Plagal Participant; and even the choice of some other note is sometimes accorded.
The following Table exhibits, at one view, the Participants of all the Modes in general use, both Authentic and Plagal.
| Mode | I. | G. | Mode | V. | G. | Mode | IX. | D. |
| " | II. | A$^2$. A$^3$. | " | VI. | C$^2$. | " | X. | E$^2$. E$^3$. |
| " | III. | A. B. | " | VII. | A. | " | XIII. | D. |
| " | IV. | C. F. | " | VIII. | D$^2$. | " | XIV. | G$^2$. |
| $^2$ The lowest note of the Mode. $^3$ The highest note of the Mode. |||||||||||
[ W. S. R. ]
# A Dictionary of Music and Musicians/Partition

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Part du Diable, La

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

From volume 2 of the work.
​PARTHENIA. The first music for the virginals published in England. The title is 'Parthenia or The Maydenhead of the first musicke that euer was printed for the Virginalls Composed By three famous Masters William Byrde, Dr. John Bull and Orlando Gibbons Gentilmen of his Ma$^{ties}$ most Illustrious Chappell. Ingrauen by William Hole.' The work consists of the following 21 pieces, all upon 6-line staves, and engraved upon copper plates, being the first musical work so produced.
W. Byrde.
Preludium. Pavana; Sir W. Petre. Galiardo. Preludium.Gallardo; Mrs. Mary Brownlo. Pavana; The Earl of Salisbury. Galiardo. Galiardo, 2 do.; Mrs. Mary Brownlo.
Dr. Bull.
Preludium. Pavano; Sir Thos. Wake. Galiardo; Sir Thos. Wake. Pavana. Galiardo. Galiardo. Galiardo.
O. Gibbons.
Galiardo. Fantazia of four parts. The Lord of Salisbury, his Pavin. Galiardo. The Queen's command. Preludium.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Partant pour la Syrie

From volume 2 of the work.
​PARTANT POUR LA SYRIE. This popular romance dates from 1809, shortly before the battle of Wagram. The words were by Count Alexandre de Laborde, a man of lively imagination in considerable repute as a poète de circonstance. One evening Queen Hortense showed him a picture representing a knight clad in armour, cutting an inscription on a stone with the point of his sword, and at the request of the company he elucidated it by a little romance invented on the spot. An entreaty to put it into verse followed, and Queen Hortense set the lines to music. Such was the origin of 'Le Départ pour la Syrie,' of which we give the music, and the first stanza.
[ G. C. ]
# A Dictionary of Music and Musicians/Partie

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

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/O'Leary, Arthur

From volume 2 of the work.
​O'LEARY, Arthur, was born in 1834 near Killarney in the south of Ireland. He received his early instruction in music at home. When between 7 and 8 years old, his pianoforte playing attracted the attention of Mr. Wyndham Goold, through whose instrumentality he was sent to the Leipzig Conservatorium in the year 1847. At Leipzig he studied the piano with Moscheles and Plaidy, counterpoint with Hauptmann, and composition with Julius Rietz. He lived in the house of Herr Preusser, where he became acquainted with Mendelssohn, Robert and Clara Schumann, and many other musical celebrities. After a five years' stay at Leipzig, Mr. O'Leary returned to London and entered at the Royal Academy of Music, studying under Cipriani Potter and Sterndale Bennett. In 1856 Lord Westmoreland appointed him Professor at the Academy, and on the opening of the National Training School for Music, he was appointed to that institution. Mr. O'Leary's compositions include songs, dance-music, transcriptions and original pieces for the pianoforte, etc. He has also edited Bach's Christmas Oratorio, Bennett's Pianoforte works, and Masses by Hummel, Sechter, and Schubert.
[ W. B. S. ]
# A Dictionary of Music and Musicians/O Salutaris Hostia

From volume 2 of the work.
​O SALUTARIS HOSTIA, a Hymn sung during the Office called Benediction, at the moment when the Tabernacle is opened, in order that the Consecrated Host may be removed and placed in the Monstrance prepared for its solemn Exposition.
Sometimes also, though less frequently, 'O salutaris hostia' is sung at High Mass, immediately after the 'Benedictus': not indeed as an integral part of the Mass itself, to which it does not properly belong, but in order to prevent the long and distracting pause which would otherwise ensue, when—as is so frequently the case in Plain Chaunt Masses—the 'Benedictus' is too short to fill up the time which must necessarily elapse between the Elevation of the Host and the 'Pater noster.'
The Plain Chant Melody of 'O salutaris hostia' is a very beautiful one, in the Eighth Mode, and introduces some ligatures, which, when carefully sung, add greatly to its effect. It needs, however, an experienced Choir to do it full justice.
Pierre de la Rue has treated the theme of 'O salutaris' with marvellous ingenuity, in a very celebrated Mass, wherein he seems to have deliberately sacrificed all higher aims to the desire of exhibiting his stupendous learning to the utmost possible advantage, the result of his labours being a series of infinitely complicated Canons, of which one—the Kyrie eleison—will be found at page 229 of the present volume. Happily, Pierre de la Rue did not always write in this ultra-pedantic style. In another of his Masses—the 'Missa de S. Anna'—he has substituted for the Benedictus a Polyphonic setting of 'O salutaris' of surpassing beauty, full of rich harmony, and, so far as its style is concerned, very much in advance of the age in which he lived. We are the more indebted to him for this, because, in the first place, the position of the Hymn, between the Sanctus and Agnus Dei, proves the custom of introducing it at High Mass to be at least as old as the 15th century; and secondly, because, in consequence of the comparatively late date of the Office of 'Benediction,' the number of genuine polyphonic settings of the Music needed for it is exceedingly small.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Oakeley, Herbert

From volume 2 of the work.
​OAKELEY, Sir Herbert Stanley, Knt., Mus. Doc., second son of Sir Herbert Oakeley, Bart., born at Ealing, July 22, 1830, was educated at Rugby and Christ Church, Oxford. He graduated as B.A. in 1853, and as M.A. in 1856. He studied harmony under Dr. Stephen Elvey, and the organ under Dr. Johann Schneider at Dresden, and completed his musical studies at Leipsic. In 1865 he was elected Professor of Music in the University of Edinburgh. He received his Mus. Doc. degree from the Archbishop of Canterbury (Tait) in 1871, and was knighted in 1876. [App. p.733 "He received in 1879 the degree of Mus. D. from the University of Oxford, and in 1881 that of LL.D. from the University of Aberdeen; he was created in the same year Composer of Music to Her Majesty in Scotland. In 1886 the University of Toronto conferred on him the degree of D.C.L., and in 1887 he received the degree of Mus. D. from the University of Dublin."] Among his publications are some 20 songs, with pianoforte or orchestral accompaniment [App. p.733 "25, 20 of the songs have been published in a 'Jubilee Album' dedicated to the Queen"], 3 vocal duets, 12 part-songs, Students' songs and choral arrangements of 12 [App. p.733 "18"] Scottish National melodies, [App. p.733 "a Jubilee Cantata for 1887"] and of various others for male voices. For the Church, some dozen anthems, a Morning and Evening Service, and many contributions to collections of church music, including the wellknown setting ('Edina') of 'Saviour, blessed Saviour,' and (Abends) 'Sun of my Soul,' in 'Hymns Ancient and Modern.' He has also published a few of his compositions for pianoforte and organ, and for orchestra, including a festal and a funeral march. [App. p.733 "and a motet with orchestral accompaniment."]
[ W. H. H. ]
# A Dictionary of Music and Musicians/Oberthür, Charles

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

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

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

​OBERTAS. This is described in the 'Encyklopedyja Powszechna' (Warsaw 1884) as the most popular of Polish national dances. The couples follow their leader, turning from right to left, and describing a circle or oval ring. The woman sometimes dances round her partner, and sometimes vice versâ; a song is often sung at the same time. The obertas is evidently regarded by the Poles as their national waltz, though, as will have been seen, it differs from the German waltz in several characteristics of the dance as well as in the style of the music associated with it by modern composers. Wieniawski's 'Mazurka caractéristique' for violin No. 1, bears the subtitle 'Obertas'; it is deficient in the rough, wild character, without which the dance is scarcely to be distinguished from a mazurka. Boito inintroduces the obertas into the first scene of act i. of 'Mefistofele':
Whether Boito was guilty of an anachronism in representing his 16th century Frankfort populace indulging in a national dance of Poland (to say nothing of Polish exclamations) is open to question. The Mazurka found its way into North-Germany only after August III. of Saxony ascended the throne in 1733 (Brockhaus). Had the obertas been adopted at any time by the German people, such writers as Angerstein, Czerwinski, Voss, etc, could not have ignored it in their works on the art and history of the Dance; though their neglect to include the name of a dance known only in Poland, in their enumeration of dances of all nations, is at least excusable. However, the charm of these stirring strains, no doubt suggested to Boito by his Polish mother, renders very welcome the composer's possible deviation from historic truth.
Wieniawski and Boito suggest by a drone bass in fifths the rude accompaniment of the bagpipes or other primitive combination of instruments.
Tutto vanno alia rinfusa Sulla musica confusa Così far la cornamusa—
[ L. M. M. ]
# A Dictionary of Music and Musicians/Oblique Piano

From volume 2 of the work.
[ A. J. H. ]
# A Critical Exposition of the Popular 'Jihád'/Appendix A/12

12. The above verses quoted with remarks. I will now proceed to give a correct translation of all the verses of the Koran referred to above, in the chronological order of the chapters of the Koran as far as it is ascertained together with my observations and remarks on them, and quotations from Mohammadan commentators when necessary.
# A Critical Exposition of the Popular 'Jihád'/Appendix A/1

[Sidenote: Jihád or Jihd does not mean war or crusade.]
1. The popular word "Jihád" or Jihd, occurring in several passages of the Koran, and generally construed by Christians and Moslems alike as meaning hostility or the waging of war against infidels, does not classically or literally signify war, warfare, hostility or fighting, and is never used in such a sense in the Koran. The Arabic terms for warfare or fighting are Harab and Kitál.
# A Critical Exposition of the Popular 'Jihád'/Appendix A/13

I.—THE MECCAN SURAS.
[Sidenote: (1) Lokman, XXXI, 14.]
    13. "But if they exert their utmost (Jáhadáka) to make thee to join that with Me of which thou hadst no knowledge, obey them not."
Chapter XXXI is one of the oldest of the Meccan Suras, having been revealed between the sixth and tenth year of the Prophet's mission. The admonition relates to a man's behaviour to his parents. He is enjoined to treat them with kindness, but not to obey them if they lead him to polytheism.
Here "Jáhadá" means "if they two (parents) task or toil thee, or make efforts and endeavour (that thou shouldst associate any god with God)," and none of the translators and commentators take the word to mean the making of war or hostilities or fighting.
# A Critical Exposition of the Popular 'Jihád'/Appendix A/15

[Sidenote: (3) The Pilgrimage, XXII, 76, 78.]
    15. "Believers! bow down with worship your Lord and work righteousness, haply ye may prosper."
    "And ('"Jáhidoo"') make efforts in God, as (Jihádehi) your making efforts is His due, He hath elected you, and hath not laid on you any hardship in religion, the Faith of your father Abraham. He hath named you the Muslims."
Messrs. Sale and Palmer translate the word here as meaning fighting, which is wrong, as it is unclassical and not literal. Rodwell translates it "do valiantly," and Sir William Muir says it is used in the more general sense (Vol. III, p. 32).
This verse is a brief and concise version of the great maxim in Deut. VI. 5; Mark XII. 30; and Luke X. 27,—
    "Thou shalt love thy God with all thy heart, and with all thy soul, and with all thy mind, and with all thy strength."
    See also Luke XIII. 24: "Strive to enter in at the straight gate."

## Footnotes

* ↑ This Sura is generally said to have been revealed at Mecca, but this is probably only the case as regards verses 1, 24, 43, 56, 60, 65, 67, 75. Mr. Muir places it at the close of the Meccan Suras of the fifth period. See Nold, p. 158; Rev. Rodwell, p. 500.