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

From volume 3 of the work.
​REBEC (Ital. Ribeca, Ribeba; Span. Rabé, Rabel.) The French name (said to be of Arabic origin) of that primitive stringed instrument which was in use throughout western Europe in the middle ages, and was the parent of the viol and violin, and is identical with the German 'geige' and the English 'fiddle'; in outline something like the mandoline, of which it was probably the parent. It was shaped like the half of a pear, and was everywhere solid except at the two extremities, the upper of which was formed into a peg-box identical with that still in use, and surmounted by a carved human head. The lower half was considerably cut down in level, thus leaving the upper solid part of the instrument to form a natural fingerboard. The portion thus cut down was scooped out, and over the cavity thus formed was glued a short pine belly, pierced with two trefoil-shaped soundholes, and fitted with a bridge and soundpost. The player either rested the curved end of the instrument lightly against the breast, or else held it like the violin, between the chin and the collar-bone, and bowed it like the violin. It had three stout gut strings, tuned like the lower strings of the violin (A, D, G). Its tone was loud and harsh, emulating the female voice, according to a French poem of the 13th century:
Quidam rebecam arcuabant, Muliebrem vocem confingentes.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Reber, Napoléon-Henri

From volume 3 of the work.
​REBER, Napoléon-Henri, born at Mulhausen, Oct. 21, 1807; at 20 entered the Conservatoire, studying counterpoint and fugue under Seuriot and Jelensperger, and composition under Lesueur. His simple manners and refined tastes, high sense of honour, and cultivated mind, gave him the entrée to salons where the conversation turned on art and intellectual subjects, instead of on the commonplaces of ordinary circles. This led him to compose much chamber-music, and to set poems by the best French poets of the period. The success of these elegant and graceful works induced him to attempt symphony and opera. His music to the 2nd act of the charming ballet 'Le Diable amoureux' (Sept. 23, 1840) excited considerable attention, and was followed at the Opéra-Comique by 'La Nuit de Noël,' 3 acts (Feb. 9, 1848), 'Le Père Gaillard,' 3 acts (Sept. 7, 1852), 'Les Papillotes de M. Benoit,' 1 act (Dec. 28, 1853), and 'Les Dames Capitaines' 3 acts (June 3, 1857). In these works he strove to counteract the tendency towards noise and bombast then so prevalent both in French and Italian opera, and to show how much may be made out of the simple natural materials of the old French opéra-comique by the judicious use of modern orchestration.
In 1851 he was appointed Professor of harmony at the Conservatoire, and in 1853 the well-merited success of 'Le Père Gaillard' procured his election to the Institut as Onslow's successor. Soon after this he renounced the theatre, and returned to chamber-music. He also began to write on music, and his 'Traité d'Harmonie' (1862), now in its 3rd edition, is without comparison the best work of its kind in France. The outline is simple and methodical, the classification of the chords easy to follow and well-connected, the explanations luminously clear, the exercises practical and well calculated to develop musical taste—in a word, everything combines to make it the safest and most valuable of instruction-books. The second part especially, dealing with 'accidental' notes or, notes foreign to the constitution of chords contains novel views, and observations throwing light upon points and rules of harmony which before were obscure and confused.
In 1862 M. Reber succeeded Halevy as Professor of composition at the Conservatoire; since 1871 he was also Inspector of the succursales or branches of the Conservatoire. He died in Paris, after a short illness, Nov. 24, 1880, and was succeeded as Professor by M. Saint-Saëns.
His compositions comprise 4 symphonies, a quintet and 3 quartets for strings, 1 PF. ditto, 7 trios, duets for PF. and violin, and PF. pieces for 2 and 4 hands. Portions of his ballet 'Le Diable amoureux ' have been published for orchestra, and are performed at concerts. In 1875 he produced a cantata called 'Roland,' but 'Le Ménêtrier à la cour,' opéra-comique, and 'Naïm,' grand opera in 5 acts, have never been jerfonned, though the overtures are engraved. His best vocal works are his melodies for a single voice, but he has composed choruses for 3 and 4 men's voices, and some sacred pieces.
[ G. C. ]
# A Dictionary of Music and Musicians/Reay, Samuel

From volume 3 of the work.
[ G. ]
# 1911 Encyclopædia Britannica/Tribute

See also Tribute on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TRIBUTE (Lat. tributum, a stated payment, contribution), a sum of money or other valuable thing paid by one state or person to another state or person, either as an acknowledgment of submission, or as the price of peace or protection. Hence, in a secondary sense, an offering to mark respect or gratitude. Revenue by means of tribute was one of the most characteristic forms of the financial systems of ancient states. In imperial Athens large revenues were derived from the states of the Delian league (q.v.), while in both Carthage and Rome inferior or dependent districts and races were laid under contribution to a very considerable extent (see Finance).
The word tribute was also applied in the Roman republic to (1) certain extraordinary taxes, as opposed to the ordinary vectigalia. Such, in particular, were certain property taxes, raised to meet the expenses of war. They were levied on all citizens alike, in proportion to the extent of a man's fortune, and varied according to the total amount of revenue to be raised. (2) To the ordinary stipendium or tax of fixed amount paid either in money or in kind, on property, trades, or as a poll-tax, raised in the Roman provinces (see Province).
# 1911 Encyclopædia Britannica/Tribune (architecture)

See also Tribune (architecture) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TRIBUNE (med. Lat. tribuna, from classical Lat. tribunal), in architecture, the term given to the semicircular apse of the Roman basilica, with a raised platform, where the presiding magistrate sat; subsequently applied generally to any raised structure from which speeches were delivered and to the private box of the emperor at the Circus Maximus. In Christian basilicas the term is retained for the semicircular recess behind the choir, as at S. Clemente in Rome, S. Apollinare in Classe, Ravenna, S. Zeno at Verona, S. Miniato near Florence, and other churches. The term is also loosely applied to various other raised spaces in secular as well as ecclesiastical buildings, in the latter sometimes in the place of “pulpit,” as in that of the refectory of St Martin des Champs at Paris. It is also given to the celebrated octagon room of the Uffizi at Florence, and sometimes to a gallery or triforium.
# 1911 Encyclopædia Britannica/Triballi

See also Triballi on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TRIBALLI, in ancient geography, a Thracian people whose earliest home was near the junction of the Angrus and Brongus (the east and west Morava), and included towards the south “the Triballian plain” (Herodotus iv. 49), which corresponds to the plain of Kossovo in Turkey. In 424 B.C. they were attacked by Sitalces, king of the Udrysae, who was defeated and lost his life in the engagement. On the other hand, they were overcome by the Autariatae, an Illyrian tribe; the date of ​this event is uncertain (Strabo vii. 317). In 376 a large band of Triballi crossed Mt Haemus and advanced as far as Abdera; they were preparing to besiege the city, when Chabrias appeared off the coast with the Athenian fleet and compelled them to retire. In 339, when Philip II. of Macedon was returning from his expedition against the Scythians, the Triballi refused to allow him to pass the Haemus unless they received a share of the booty. Hostilities took place, in which Philip was defeated and nearly lost his life (Justin ix. 3), but the Triballi appear to have been subsequently subdued by him. After the death of Philip, the Triballi having taken up arms again, Alexander the Great in 334 crossed the Haemus and drove them to the junction of the Lyginus with the Danube. Their king Syrmus took refuge in Peuce (Peukē, an island in the Danube), whither Alexander was unable to follow him. The punishment inflicted by him upon the Getae, however, induced the Triballi to sue for peace (Arrian, Anabasis, i. 1, 4; 2, 2–4; 4, 6). About 280 a host of Gauls under Cerethrius defeated the Getae and Triballi (Justin xxv. 1; Pausanias x. 19, 7). Nevertheless, the latter for some fiity years (135–84) caused trouble to the Roman governors of Macedonia. In the time of Ptolemy their territory is limited to the district between the Ciabrus (Tzibritza) and Utus (Vid), in the modern Bulgaria, their chief town being Oescus (Οῖσκος Τριβαλλῶν). Under Tiberius mention is made of Treballia in Moesia, and the Emperor Maximin (235–237) had been commander of a squadron of Triballi. The name occurs for the last time during the reign of Diocletian, who dates a letter from Triballis. The Triballi are described as a wild and warlike people (Isocrates, Panathenaicus, 227), and in Aristophanes (Birds, 1565–1693) a Triballian is introduced as a specimen of an uncivilized barbarian.
See W. Tomaschek, “Die alten Thraker" in Sitzungsberichte der k. Akad. der Wissensehaften, cxxviii. (Vienna, 1893).
# 1911 Encyclopædia Britannica/Triberg

See also Triberg im Schwarzwald on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TRIBERG, a town and health resort of Germany, in the grand duchy of Baden, in the Black Forest, pleasantly situated on the Gutach and surrounded by well-wooded hills, 2250 ft. above the sea, 35 m. by rail S.E. of Offenburg. Pop. (1905), 3717. It has four churches, one of them Anglican. Triberg is one of the chief centres of the Black Forest clock-making industry. Straw-plaiting, saw-milling, brewing, and the manufacture of wooden wares are also carried on, and the town has a permanent industrial exhibition. Triberg is what is called a Luftkurort, a place to which convalescents resort after a course of baths elsewhere. Near the town is the fine waterfall formed by the Gutach. Triberg came into the possession of Austria in 1654 and into that of Baden in 1806.
# 1911 Encyclopædia Britannica/Tribe

See also Tribe on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TRIBE (Lat. tribus, from tres, three), a word which is believed to have originally meant a “third part” of the people, in reference to the three patrician orders or political divisions of the people of Ancient Rome, the Ramnes, Tities and Luceres, representing the Latin, Sabine and Etruscan settlements. Its ethnological meaning has come to be any aggregate of families or small communities which are grouped together under one chief or leader, observing similar customs and social rules, and tracing their descent from one common ancestor. Examples of such “enlarged families” are the twelve tribes of Israel. In general the tribe is the earliest form of political organization, nations gradually being constituted by tribal amalgamation. (See Family.)
# A Cyclopaedia of Female Biography/Charlotte, Princess of Wales

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CHARLOTTE, PRINCESS OF WALES,
Daughter of George the Fourth, and heir-apparent to the throne of Great Britain and Ireland, was born in 1795, and died November 6th., 1817, aged twenty-two. She was married to Leopold, Prince of Saxe-Cobourg. The untimely death of the princess and her infant, clothed the nation in mourning, and changed the succession of the throne. When informed of her child's death, shortly before her own, she said, "I feel it as a mother naturally should"—adding "It is the will of God! praise to him in all things!" She was a pious, intelligent, energetic, and benevolent princess, often personally visiting and relieving the poor; and her loss was deeply felt. Robert Hall preached a most eloquent sermon on her death.
# A Cyclopaedia of Female Biography/Chelonis

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CHELONIS,
Daughter of Leonidas, King of Sparta, B.C. 491, was the wife of Cleombrutus. Her father was deposed by a faction, which placed Cleombrutus on the throne in his stead. Chelonis refused to share her husband's triumph, and retired with her father into a temple in which he had taken sanctuary. Leonidas, some time after, was permitted to retire to Tagea, whither Chelonis accompanied him.
A change occurring in the feelings of the populace, Leonidas was restored, and Cleombrutus obliged to take refuge, in his turn, in the sanctuary. Chelonis now left her father for her husband. Leonidas repaired, with an armed force, to the sanctuary, and bitterly reproached Cleombrutus, who listened in silence, with the injuries he had received from him. The tears of Chelonis, who protested that she could not survive Cleombrutus, softened Leonidas, and he not only gave his son-in-law his life, but allowed him to choose his place of exile. To the entreaties of Leonidas, that Chelonis would remain with him, she returned a resolute refusal; and, placing one of her children in her husband's arms, and taking the other in her own, she went with him into banishment.
# A Cyclopaedia of Female Biography/Cheney, Harriet V.

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CHENEY, HARRIET V.
Is a native of Massachusetts. Her love of literature was developed in childhood, probably owing much to the influence of the taste and genius of her mother, who was the authoress of one of the earliest American novels, "The Coquette, or History of Eliza Wharton." Soon after the subject of our notice left school, she wrote, in conjunction with her sister, "The Sunday School, or Village Sketches," which was published anonymously. It was popular, the edition was soon exhausted, and the authors were solicited to republish it;—but not having secured the copyright, another writer had seized on the book, changed the title to "Charles Hartland," and published it for his own benefit. The next work, "A Peep at the Pilgrims," passed through two editions, and was re-published in London. It is an interesting story of the early settlers of New England, and has lately been re-printed in Boston. "The Rivals of Acadia," was the next; and then for a number of years Mrs. Cheney's time was wholly devoted to her family. The death of ​her husband, by rendering her own exertions in behalf of her children essential to their education, has called her again into the field of literature. Her latest books, "Sketches from the Life of Christ;" and "Confessions of an early Martyr," appeared in 1846; she has since been a contribitor to "The Literary Garland," a Monthly Magazine published in Montreal, Canada, where Mrs. Cheney now resides. Her sister, Mrs. Cashing, is editor of the "Garland," and has written several books for the young, and poems: "Esther, a Dramatic Poem," is a work of deep interest. These two amiable and intelligent sisters are doing much, in a quiet way, for the literary taste and moral improvement of the youth of Canada.
# A Cyclopaedia of Female Biography/Chelidonis

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CHELIDONIS,
Daughter of Leotychides, and the wife of Cleonymus, son of Cleomenes the Second, King of Sparta. He was disliked by the Lacedæmonians, on account of his violent temper, and they gave the royal authority to Atreus, his brother's son. Chelidonis also despised him and loved Acrotatus, a very beautiful youth, the son ​of Atreus. Cleonymus left Lacedsemon in anger, and went to solicit Pyrrhus, King of Epirua, to make war against the Lacedaemonians. Pyrrhus came against the city with a large army, but was repulsed. The Spartans, on his approach, had resolved to send the women, by night, to Crete for safety; but Archidamia came, sword in hand, into the senate, complaining that they were thought capable of surviving the destruction of their country. The women laboured all night on the abutments, with the exception of Chelidonis, who put a rope around her neck, resolving not to fall alive into the hands of her husband The city was saved chiefly by the patriotism of women, inspired by Chelidonis. She lived about 280 B. C.
# A Cyclopaedia of Female Biography/Cheron, Elizabeth Sophia

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CHERON, ELIZABETH SOPHIA,
Daughter of a painter in enamel, of the town of Meanx, was born at Paris in 1678, and studied under her father. At the age of fourteen her name was already famous. The celebrated Le Brun, in 1672, presented her to the academy of painting and sculpture, which complimented her by admitting her to the title of academician. She apportioned her time between painting, the learned languages, poetry, and music. She drew, on a large scale, a great number of gems, which were remarkable for exhibiting taste, a singular command of the pencil, a fine style of colouring, and a superior judgment in the chiaro-oscuro. The various styles of painting were familiar to her. She excelled in historical painting, oil-colours, miniature enamels, portrait-painting, and especially those of females. It is said that she frequently executed, from memory, the portraits of absent friends, to which she gave as strong a likeness as if they had sat to her. The academy of Ricovrati, at Padua, honoured her with the name of Erato, and gave her a place in their society. She died at Paris, September 3rd., 1741, at the age of sixty-three.
# A Cyclopaedia of Female Biography/Chezy, Wilhelmine Christine Von

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CHEZY, WILHELMINE CHRISTINE VON,
A German poetess, whose maiden name was Yon Klenke, was born at Berlin, January 26th., 1783. She married Mr. Von Haslfker, but they had lived only a short time together, when they applied for and obtained a divorce. She was afterwards married to the celebrated French orientalist. Von Chezy; but this second marriage proved no more happy in its results than the first; and, according to a mutual agreement between her and her husband, she was again divorced. She then devoted herself to the education of her two sons by her second husband; they did honour to their instructor, and have since obtained considerable literary fame.
Frau Von Chezy lived alternately in Munich, Vienna, and Paris. She was, on her mother's side, a grandchild of the celebrated poetess Frau Karsch, whose talents seem to have descended to her. As a writer, she is best known by the name of Helmina, under which she has written tales and romances in verse. Her writings are characterized by a fertile imagination, a pleasing style, and warm feeling; though they cannot always bear the test of a critical examination. She has also written a few spirited prose works, and the opera Euryanthe, which was set to music by Von Weber. The best of her works are "The Martinman Birds," the "Six noble Employments," and "Recollections of Vienna." She died in 1849.
# A Cyclopaedia of Female Biography/Chemin, Catharine du

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CHEMIN, CATHARINE DU,
Was a French artist, who died at Paris, 1698. She principally excelled in painting flowers. Her husband erected a noble monument to her memory in the church of St. Landry.
# A Dictionary of Music and Musicians/Three-Quarter Fiddle

​THREE-QUARTER FIDDLE. See Violino Piccolo.
# A Dictionary of Music and Musicians/Tichatschek, Joseph

[ A. C. ]
* ↑ On Oct. 13, 1842, he sang the part of Max on the occasion of the hundredth performance of 'Der Freischütz,' a part he sang no less than 106 times during his career up to 1863.
* ↑ Musical World.' June 17, 1841.
# A Dictionary of Music and Musicians/Tie

​TIE. A curved line uniting two notes of the same pitch, whereby they form a single note which is sustained for the value of both. The tie is also called the Bind, and by some writers the Ligature, although this term properly refers to certain slurred groups of notes which occur in ancient music. [Ligature, vol. ii. p. 136.] It has already been described under the former heading, but to what was there stated it may be added, that ties are occasionally met with in pianoforte music where the note is actually repeated. [See Bind, vol. i. p. 242.] To effect this repetition properly some skill and care are required; the finger which strikes the first of the two tied notes is drawn inwards, and the following finger falls over it as closely and rapidly as possible, so as to take its place before the key has had time to rise to its full distance, and therefore before the damper has quite fallen. Thus there is no actual silence between the two sounds, the repetition takes place before the first sound has ceased, and an effect is produced which resembles the old effect of Bebung as nearly as the modern pianoforte can imitate it. [See vol. i. p. 160.] The particular occasions on which this effect is required are not indicated ​by any specific sign, since an experienced performer can always judge from the nature of the passage. As a rule, it may be said that whenever two tied notes are written for which a single longer note might have been substituted repetition is indicated—for the use of the tie proper is to express a note-value which cannot be represented by a single note, e.g. five quavers. Thus Ex. 1, which is an instance in point, might, if no repetition had been required, have been written in quavers, as in Ex. 2.
Beethoven. Sonata, op. 106. Adagio.
Another instance of the employment of this close repetition sometimes occurs when an unaccented note is tied to an accented one, as in Ex. 3. Here the rhythm would be entirely lost if the tied notes were sustained instead of repeated
Chopin. Valse, op. 31, no. 1.
In the same sense it seems quite possible that the subject of the scherzo of Beethoven's Sonata for piano and violoncello, op. 69, and other similar phrases, may have been intended to be played with repetition; and in support of this view it may be mentioned that an edition exists of the Sonata Pastorale, op. 28, by Cipriani Potter, who had opportunities of hearing Beethoven and becoming acquainted with his intentions, in which the analogous passage in the first movement is printed with what is evidently meant for a sign of separation between the tied notes, thus—
[ F. T. ]
# A Dictionary of Music and Musicians/Tiedge, Christoph

[ G. ]
# A Dictionary of Music and Musicians/Thursby, Emma

​THURSBY, Emma, born at Brooklyn, New York, Nov. 17, 1857, is the daughter of an Englishman, and is descended by her mother from an old United States family. She received instruction in singing first from Julius Meyer and Achille Erani, then in 1873 at Milan from Lamperti and San Giovanni, and finally completed her studies in America under Madame Rudersdorff. In 1875 she undertook a tour through the United States and Canada. She made her début in England May 22, 1878, at the Philharmonic, with such success that she was engaged at a subsequent concert of the Society in the same season. She remained in England until the end of 1879, singing with acceptance at the Crystal Palace, the Popular Concerts, Leslie's Choir, etc., and in the summer of the same year sang in Paris and the French provinces. In 1880–81 she made an extended concert-tour through Germany, Austria, Holland, Belgium, Spain, Norway, Denmark, etc., and returned to America at the end of 82. In 1883 she was singing in the States and Canada.
[ A. C. ]
# A Dictionary of Music and Musicians/Tierce

​TIERCE, i.e. Tiers, third. I. A name given to the interval of the Third, whether Major or Minor.
II. The fourth of the series of natural harmonics, being the Major Third in the third octave above the ground-tone or prime; its vibrations are five times as numerous as those of its prime.
[ J. S. ]
# A Dictionary of Music and Musicians/Thorne, John

[ W. H. H. ]
# A Dictionary of Music and Musicians/Thurnam, Edward

[ W. H. H. ]