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

​VERDONCK, Cornelius, born at Turnhout in Belgium in 1563, belongs to the later school of Flemish composers, influenced from Italy, as Italy had earlier been influenced from Flanders. He lived chiefly at Antwerp, in the service of private patrons, and died there July 4, 1625. As a musician, he must have been highly appreciated by his contemporaries, as the following epitaph, inscribed to his memory in the Carmelite Church at Antwerp shows; a copy of which we owe to the obliging kindness of M. Goovaerts, keeper of the Public Archives at Brussels:—
D. O. M. S. SISTE GRADUM VIATOR UT PERLEGAS QUAM OB REM HIC LAPIS LITTERATUS SIET MUSICORUM DELICIAE CORNELIUS VERDONCKIUS TURNHOLTANUS HOC CIPPO EHEU! CLAUSUS PERPETUUM SILET QUI DUM VIXIT VOCE ET ARTE MUSICA MORTEM SURDA NI ESSET FLEXISSET QUAM DUM FRUSTRA DEMULCET COELI CHORIS VOCEM AETERNAM SACRATURUS ABIT IV NON. JUL. ANNO MDCXXV AETAT. LXII AT TU LECTOR BENE PRECARE ET VALE CLIENTI SUO MOESTUS PONEBAT DE CORDES.
[ J. R. M. ]
# A Dictionary of Music and Musicians/Veracini, Antonio

​VERACINI, Antonio, a violinist and composer who lived during the second half of the 17th century at Florence. According to Fétis he published three sets of sonatas. His nephew and pupil,
Francesco Maria Veracini, a celebrated violinist and composer, was born at Florence about 1685, and was known as 'Il Florentine.' He appears to have settled early at Venice, where Tartini was so much impressed by his style as to leave Venice without appearing in public, and retire to Ancona for further study after the model of Veracini. [Tartini.] He visited England for the first time in 1714, acting as leader of the Italian Opera band, and appearing as soloist between the acts. He was then 'regarded as the greatest violinist in Europe' (Burney, Hist. iv. 640). In 1720 he accepted an appointment as solo-player to the Elector of Saxony at Dresden. There he threw himself out of a high window, and in consequence was lamed for life. According to one version he did this in a fit of insanity; but another report goes to the effect that Pisendel, the leading German musician at Dresden, in order to prepare a humiliation to Veracini, who by his conceit and arrogance had incurred the hostility of the Germans, asked him to play a concerto at sight before the Court, and afterwards made a violinist of the orchestra repeat the piece. As the latter had carefully prepared his music, the audience, to Veracini's mortification, gave the preference to his performance and applauded him greatly. Be this as it may, Veracini left Dresden for Prague (1723) and Italy. In 1735 we find him again in London, where he achieved a signal success as a composer. His opera 'Adriano' was performed 17 times during the winter of 1735–36, an enormous run in those days. As a violinist Geminiani, then a rising star, appears to have impaired his success. He is reported to have died in reduced circumstances at Pisa in 1750.
Veracini's general success in Italy, England and Germany, and the special testimony of Tartini, are sufficient proofs of his eminence as a player. At the same time, his compositions, though few of them have been published, show him to have been a musician of remarkable originality and solid attainments. His style is much more modern than that of Corelli and even of Tartini. The pathetic element so predominant in the works of these masters, although not entirely absent in his works, is yet much less prominent than vivacity, grace, and piquancy. His forms are sometimes very extended, his modulations and harmonies not only rich and varied, but often so unusual and bold that it is not surprising to find that 'his compositions were too wild and flighty for the taste of the English at that time' (Burney).
[ P. D. ]
# A Dictionary of Music and Musicians/Ventil

[ G. ]
# A Dictionary of Music and Musicians/Verdelot, Philippe

​VERDELOT, Philippe, a Flemish composer of the early part of the 16th century, appears to have settled in Italy when young, since his first work—a motet—was printed in the 'Fior de' Motetti e Canzoni' published, as is believed, at Rome in 1526, and since he is found to have resided at Florence at some time between 1530 and 1540. It is certain however that he was, either now or from an earlier date, attached to the singing staff of the church of S. Mark at Venice, and we have the authority ofGuicciardini for the statement that he was already dead by the year 1567. His last publication is dated 1549.
[ R. L. P. ]
* ↑ Two notices cited by M. vander Straeten, La Musique aux Pays-bas vi. 322, suggest that the name 'Verdelot' is an appellative: if so, we are ignorant of the composer's real name. One of the cases referred to is connected with the town of Bruges.
* ↑ Quoted by Vander Straeten, i. 44.
* ↑ Ambros, Geschichte der Musik, vol. ii. 513.
* ↑ See generally Fétis. vol. viii. 319-321; Ambros, vol. iii. 293 f.; vander Straeten, vol. vi. 321 f., 366.
Appendix:
[ J. R. M. ]
# A Dictionary of Music and Musicians/Venite

[ G. ]
* ↑ Reprinted by Ouseley in his 'Collection of the Sacred Compositions of Orlando Gibbons.' Boyce has not given the Venite in his edition of Tallis, Byrd, or Gibbons.
* ↑ Jebb. p. 269.
# A Dictionary of Music and Musicians/Tannhäuser

[ G. ]
# A Dictionary of Music and Musicians/Tangent

​TANGENT, in a clavichord, is a thick pin of brass wire an inch or more high, flattened out towards the top into a head one-eighth of an inch or so in diameter. It is inserted in the back end of the key, and being pushed up so as to strike the pair of strings above it, forms at once a hammer for them and a temporary bridge, from which they vibrate up to the soundboard bridge. In the clavichord no other means beyond this very primitive contrivance is used for producing the tone, which is in consequence very feeble, although sweet. The common damper to all the strings, a strip of cloth interwoven behind the row of tangents, has the tendency to increase this characteristic of feebleness, by permitting no sympathetic reinforcement.
In all clavichords made anterior to about 1725 there was a fretted (or gebunden) system, by which the keys that struck, what from analogy with other stringed instruments may be called open strings, were in each octave F, G, A, B♭, C, D, E♭. With the exception of A and D (which were always independent), the semitones were obtained by the tangents of the neighbouring keys, which fretted or stopped the open strings at shorter distance, and produced F♯, G♯, B♮, C♯, and E♮. Owing to this contrivance it was not possible, for example, to sound F and F♯ together by putting down the two contiguous keys; since the F♯ alone would then sound. We have reason to believe that the independence of A and D is as old as the chromatic keyboard itself, which we know for certain was in use in 1426. Old authorities may be quoted for the fretting of more tangents than one; and Adlung, who died in 1762, speaks of another fretted division which left E♮ and B independent, an evident recognition of the natural major scale which proves the late introduction of this system.
The tangent acts upon the strings in the same way that the bridging or fretting does upon the simple monochord, sharpening the measured distances which theory demands by adding tension. Pressing the key too much therefore makes the note sound intolerably out of tune. An unskilful player would naturally err in this direction, and Emanuel Bach cautions against it. In his famous essay on playing he describes an effect special to the tangent, unattainable by either jack or hammer, viz. the Beben or Bebung, which was a tremolo or vibrato obtained by a tremulous pressure upon the key with the fleshy end of the finger. It was marked with a line and dots like the modern mezzo staccato, but being upon a single note, was, of course, entirely different.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Tans'ur, William

[ W. H. H. ]
# A Dictionary of Music and Musicians/Tanto

[ G. ]
# A Dictionary of Music and Musicians/Tantum ergo

​TANTUM ERGO. The first words of the last two stanzas of the Hymn 'Pange lingua gloriosi Corporis Mysterium,' written by S. Thomas Aquinas, for the Festival of Corpus Christi.
The extreme solemnity of the circumstances under which 'Tantum ergo' is sung in the Roman Catholic Church, renders its adaptation to solemn Music more than ordinarily imperative. It is used whenever the Eucharist is carried in Procession; at the conclusion of the Ceremony of Exposition; and at the Office of Benediction: and never heard but in the presence of the Eucharist. Except, of course, in Processions, it is sung kneeling.
The Plain Chaunt Melody of 'Tantum ergo' is the same as that used for 'Pange lingua.' The purest printed version is that given in the new Ratisbon Office-Books; but, owing to the excision of certain 'grace-notes,' this version is, at present, less popular than that printed in the Mechlin Vesperal. The pure version stands thus—
The antient Melody has been frequently treated in Polyphonic form, and that very finely; but no setting will bear comparison with the magnificent 'Pange lingua' in Palestrina's 'Hymni totius anni,' which concludes with a 'Tantum ergo' for 5 Voices, in which the Melody is assigned, entire, to the First Tenor, while the remaining Voices accompany it with Harmonies and Points of Imitation. Vittoria has also written a very beautiful 'Pange lingua,' which, unhappily, treats the alternate stanzas only; the first stanza of 'Tantum ergo' is therefore omitted, though the music written for the second—'Genitori, Genitoque'—may very consistently be sung to it.
The almost daily use of 'Tantum ergo' at the Office of Benediction has led to the fabrication of an immense number of modern Melodies, of more or less demerit. One of the best of these—a really good one—attributed to Michael Haydn, is extremely popular, in England, as a Hymn-Tune—8.6.8.6.8.6—under the title of 'Benediction.' Another, said to be 'Gregorian,' and probably really of Plain-Chaunt origin, is scarcely less popular, under the title of S. Thomas.' A third, set for two Voices by V. Novello, is equally pleasing, though wanting in solemnity. These, however, are quite exceptionally good specimens. Notwithstanding the beauty of the text, and the solemnity of the occasions on which it is sung, it is doubtful whether any Hymn has ever been fitted to so much irreverent music as 'Tantum ergo.' The present Cardinal Archbishop of Westminster has sternly condemned the use of such Music in England, and his remonstrance has not been without effect; but hitherto the reform has only been a partial one.
[ W. S. R. ]
* ↑ Not to be mistaken for the Hymn (better known in England), sung, under the same title, during Holy Week—'Pange lingua gloriosi Lauream certaminis.'
* ↑ For a free reading of the impure version, see 'Hymns Ancient and Modern,' Hymn 309, no. 3, new ed.
* ↑ Hymns Ancient and Modern, Hymn 67, new ed.
* ↑ Ibid., Hymn 51, ibid.
# A Dictionary of Music and Musicians/Tarare

[ G. ]
# A Dictionary of Music and Musicians/Tancredi

[ G. ]
# A Dictionary of Music and Musicians/Tappert, Wilhelm

[ G. ]
# A Chinese and English vocabulary, in the Tie-chiu dialect/Suat
### Suat.
#### 梲$^{4-}$

    A short pillar or post on the top of a beam.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sue
### Sue.
#### 衰$^1$

    To fade; decline; become weak; fall off; exterminate.

#### 師$^{3-}$

    A commander; a general; an army. ​

#### 戍$^{3-}$

    To guard the frontier; to banish to the frontier.

#### 歲$^{3-}$

    A year; one's age; the produce of a year.

#### 稅$^{3-}$

    Taxes; rent; custom; duties; to hire; to leave to, as by will.

#### 說$^4$

    To speak; converse; explain; speech; explanation.

#### 刷$^4$

    To scrape; rub; brush; cleanse; a brush.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sui
### Sui.
#### 隋$^{-1}$

    Name of an ancient dynasty of China.

#### 隨$^{-1}$

    To accord with; yield; follow; obey; forthwith.

#### 遂$^{-1}$

    To accord with; not to oppose; forthwith; then.

#### 燧$^{-1}$

    An instrument to obtain fire either by friction or from the rays of the sun.

#### 璲$^{-1}$

    Name of a valuable stone attached to girdles and esteemed lucky.

#### 穟$^{-1}$

    The flower or head of grain; the ear of corn.

#### 垂$^{-1}$

    Suspended; to bow down; condescend; extend downwards.

#### 諈$^{-1}$

    To implicate; connect or involve affairs; search into.

#### 陲$^{-1}$

    The edge of a precipice; dangerous; a limit; frontier.

#### 錘$^{-1}$

    A weight used in weighing; twelve teals of silver.

#### 誰$^{-1}$

    Who? whose? what? who.

#### 雖$^1$

    Although; supposing that; admitting that.

#### 綏$^1$

    Steady; quiet; tranquil; to tranquilize; a battle.

#### 荽$^1$

    A fragrant plant beneficial in headaches.

#### 蓑$^1$

    Pendent flowers; a garment of leaves to defend from rain.

#### 睡$^{-3}$

    To sleep; to lie down.

#### 瑞$^{-3}$

    Auspicious; felicitous; a good omen.

#### 穗$^{3-}$

    The ear of grain; the flower of fruits and grass; elegant.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sám
### Sám.
#### 杉$^1$

    The fir tree; any large good timber.

#### 糝$^2$

    Rice mixed with soup or with minced meat; mixed.

#### 三$^{3-}$

    Three times; to repeat three times.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sán
### Sán.
#### 𠚹$^1$

    To mow or shear.

#### 芟$^1$

    To cut herbs or plants; a large sickle or scythe.

#### 刪$^1$

    To pare off; expunge; decide what to retain and what to reject in a book revise.

#### 疝$^1$

    A disease in the lower part of the abdomen and organs of generation.

#### 訕$^{3-}$

    To slander; vilify; backbite.

#### 𠾎$^{3-}$

    To blow out from the mouth or nose.

#### 撒$^{3-}$

    To scatter; disperse; set loose; spread out.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Suang
### Suang.
#### 爽$^2$

    Light and cheerful; ease and health; to please; impetuous; to fail; miss.

#### 顙$^2$

    The middle of the forehead; the front.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sun
### Sun.
#### 旬$^{-1}$

    Ten days; a decade; to extend everywhere; all equally.

#### 恂$^{-1}$

    Sincere; faithful; respectful; awe; reverence.

#### 殉$^{-1}$

    To seek the attainment of any object at any risk.

#### 洵$^{-1}$

    Faithful; sincere; distant; equal; even; to weep.

#### 狥$^{-1}$

    To connive at; comply with in any evil sense.

#### 荀$^{-1}$

    Name of a plant.

#### 訊$^{-1}$

    To enquire; investigate; give information; to contrive.

#### 循$^{-1}$

    To go as one in led; to comply or accord with; to go about; examine.

#### 巡$^{-1}$

    To go about and examine; go the round; look after.

#### 純$^{-1}$

    Pure; unmixed; without spot.

#### 惇$^{-1}$

    Sincerity; plain, honest and kind. ​

#### 鶉$^{-1}$

    A species of quail.

#### 孫$^1$

    A grandchild; remote descendants; posterity.

#### 猻$^1$

    An animal of the monkey species.

#### 飱$^1$

    An evening meal; flour and water mixed; dressed food.

#### 損$^2$

    To diminish; injure; spoil; lose; give up.

#### 筍$^2$笋$^2$

    Young shoots of bamboo fit to be eaten; a sprout; a tenon.

#### 順$^{-3}$

    To obey; yield; comply; prosperous; harmonizing.

#### 巽$^{3-}$

    Humble; to select; a character used in divination.

#### 孫$^{3-}$遜$^{3-}$

    Complaisant; retiring; humble; yielding.

#### 舜$^{3-}$

    A Chinese king who lived B.C.2100; sage; benevolent.

#### 瞬$^{3-}$

    The twinkling of an eye; an instant.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sut
### Sut.
#### 術$^{-4}$

    A path; a way of doing anything; a rule; an art; a scheme.

#### 述$^{-4}$

    To narrate; rehearse; to collect, arrange and publish.

#### 恤$^4$卹$^4$

    Compassion; to pity; to have a tender care for.

#### 戌$^4$

    A horary character for the ninth moon; also for from 7 to 9 o'clock P.M.

#### 銊$^4$

    The noise made by a saw; to saw.

#### 師$^4$

    To lead or head an army; to lead.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Swai
### Swai.
#### 蓑$^1$

    A mango.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sá
### Sá.
#### 娑$^1$

    To dance; make postures; garments tucked up.

#### 砂$^1$

    A small stone; pebbles; sand.

#### 洒$^2$

    To wash; cleanse; sprinkle; afraid.
# A Dissertation Upon Rhetoric

* related portals: Oration.
* sister projects: Wikidata item.
A
DISSERTATION
UPON
RHETORIC,
TRANSLATED FROM THE GREEK OF
Aristotle.
BY
DANIEL MICHAEL CRIMMIN, ESQ.
LATE OF TRINITY COLLEGE, DUBLIN;
AND STUDENT OF THE MIDDLE TEMPLE.
LONDON:
PRINTED FOR J. J. STOCKDALK,
41, PALL MALL.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Dissertation on Reading the Classics and Forming a Just Style

Although this book has a table of contents, the 'chapters' are very short and there are no chapter headings in the text to indicate where they begin and end. Consequently, a simplified table has been added using AuxTOC.
A
DISSERTATION
On Reading the
CLASSICS,
And Forming a
Just Style.
Written in the Year 1709.
And addressed to the
Right Honourable,
JOHN Lord ROOS,
The Present
Marquis of GRANBY.
LONDON:
Printed for Jonah Bowyer, at the Rose in Ludgate-street.1713.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
Preface Contents A Dissertation, &c.
# A Dissertation on Reading the Classics and Forming a Just Style/Contents

THE
CONTENTS.
# A Good Woman (Bromfield)/Part 3/Chapter 29

When he told Emma the next day that he meant to marry Mary Conyngham, she turned suddenly white about the lips, and for once she was silent for a time before speaking. She must have seen that she had lost him forever, that she had lost even her grandchildren; but she had never yet surrendered weakly and she did not surrender now. She held her tongue, moved perhaps by the memory of Jason's, "You never learn anything, Em. You'd better leave the boy alone, if you ever expect to see him again."
She only said, "You might have waited a respectable time, so people wouldn't talk. Why, Naomi's hardly cold in her grave. You certainly don't owe her much, but. . . ."
"No one need know. We're going away. We'll keep it a secret if you like."
She softened a little. "Why couldn't you wait a little time?" (Mary might die or he might grow tired of her, if he would only wait.)
He looked at her steadily. "I've waited too long already, years too long."
"And now that your Pa's going back to Australia for a time, I'll be alone . . . I won't have anybody. It's hard when you're beginning to be old to find your life hasn't come to anything . . . all the struggle gone for nothing."
He saw that she was beginning to "work herself up" in the old fashion that she always used as a last resort. He knew the signs, and he didn't care any longer. She couldn't touch him that way. The trick had worn itself out, and he saw her with a strange, cruel clarity. ​One thing, however, did soften him . . . "now that your Pa is going back to Australia for a time. . . ." She didn't know that she would never see Jason again.
"I'll come sometimes to visit you," he said. "You won't lose me."
"But it's not the same, Philip. When a girl marries, she still belongs to her mother, but when a boy marries, he is lost forever."
"But, Ma, I was married before."
"But that didn't count. Naomi didn't make any difference. She was always a sort of poor thing."
# A Dictionary of Music and Musicians/Davy, Richard

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

From volume 1 of the work.
​DEBORAH. An oratorio of Handel's, the words by Humphreys; completed Feb. 21, 1733; first performed at the King's Theatre, Haymarket, March 17, 1733. No less than 14 of the airs and choruses are founded on, adapted, or transferred, from other works of Handel's—Dixit Dominus (1707); the Passion (1716); the ode on Queen Anne's birthday (1715); the Coronation Anthems (1727). Deborah was revived by the Sacred Harmonic Society Nov. 15 1843.
# A Dictionary of Music and Musicians/Day, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Debain, Alexandre

From volume 1 of the work.
​DEBAIN, Alexandre François, keyed instrument maker, born in Paris 1809. Originally foreman in a pianoforte factory, but in 1834 established a factory of his own. Has distinguished himself by the invention of several musical instruments, amongst others the Antiphonel—a kind of barrel-organ—the Harmonicorde—a combination of reeds and strings—and the Harmonium, or Orgue expressif. Died Nov. 77.
# A Dictionary of Music and Musicians/Decani

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

From volume 1 of the work.
​DECRESCENDO, decreasing—the opposite of crescendo—consists in gradually lessening the tone from loud to soft. It is also expressed by dec., decresc., and by the sign . Whether there was originally any difference between decrescendo and diminuendo or not, at present the two terms appear to be convertible. There is a splendid instance of the thing, where both words are used, at the end of the first section of the Finale of Schubert's Symphony in C, No. 9, in a decrescendo of 48 bars from fff, the bass at the same time going down and down to the low G.
# A Dictionary of Music and Musicians/Davy, John

From volume 1 of the work.
​DAVY, John, was born in the parish of Upton Helion, near Exeter, in 1765. From his earliest infancy he discovered a remarkable propensity for music. After many other manifestations of his inclination, he was, when about six years of age, detected as the purloiner of from twenty to thirty horse-shoes from a neighbouring smithy. From these he had selected as many as formed a complete octave, and, having suspended them in an upper room, was amusing himself by imitating upon them the chimes of the neighbouring church of Crediton. By the advice of the Rev. Mr. Eastcott, he was articled to Jackson of Exeter. Some years afterwards Davy came to London, and obtained employment in the orchestra of one of the theatres and as a teacher. His ability for composition soon became known, and he was engaged to supply music for several dramatic pieces. After upwards of twenty years of such employment his frame gave way under the pressure of infirmities rather than of age, and he gradually sank until he died, in May's Buildings, St. Martin's Lane, Feb. 22, 1824. He was buried in St. Martin's churchyard on Feb. 28 following. Davy composed the music for the following dramatic pieces:—'What a Blunder!' 1800; 'Perouse' (with J. Moorehead), 1801; 'The Brazen Mask' (with Mountain), 1802; 'The Cabinet' (with Braham and others), 1802; 'The Caffres' (with others), 1802; 'Red Roy,' 1803; 'The Miller's Maid,' 1804; 'Harlequin Quicksilver,' 1804; 'Thirty Thousand' (with Braham and Reeve), 1805; 'Spanish Dollars,' 1805; 'Harlequin's Magnet,' 1805; 'The Blind Boy, 1808; 'The Farmer's Wife' (with others), 1814; 'Rob Roy Macgregor,' 1818; 'Woman's Will, a Riddle,' 1820. Also an overture and other music for Shakspere's 'Tempest,' performed in conjunction with the songs of Purcell, Arne, and Linley.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Deane, Thomas

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Strogers, Nicholas

[ W. H. H. ]
# A Dictionary of Music and Musicians/Strohfiedel

​STROHFIEDEL, i.e. Strawfiddle (Ital. Sticcato; Fr. Claquebois; Germ. also Holzharmonika), is described by Mendel in his Lexicon as a very ancient and widespread instrument, found principally among the Russians, Poles, and Tartars, consisting of a range of flat pieces of deal orglass, of no settled number, tuned to the scale, arranged on belts of straw, and struck with two small hammers, after the manner of the common glass 'Harmonica' toy.
[ G. ]
# A Dictionary of Music and Musicians/Struensee

[ G. ]