OpenLLM-France/wikimedia huggingface dataset:
# Complete Encyclopaedia of Music/A/Antiphons

Antiphons. Certain ecclesiastical compositions, much used in the early Christian church, and sung alternately, or in dialogue.
# Complete Encyclopaedia of Music/A/Antinori, Ludovico

Antinori, Ludovico, an Italian singer, was engaged by Handel for his operas in London, in 1726.
# Complete Encyclopaedia of Music/A/Antiphonarium

Antiphonarium. (L.) A book containing the notation of the antiphony, chants, &c., of the Catholic church.
# Complete Encyclopaedia of Music/A/Antiphony

Antiphony. A term used by the ancients, in opposition to homophony, which implied a performance wholly in unison. Antiphony also signified certain symphonies performed by various voices, or instruments, in octaves and fifteenths to each other, but was more particularly applied to the practice of singing anthems and hymns alternately, or in dialogue. This word was afterwards used by the primitive Christians in the latter sense. St. Ignatius has generally the credit of its revival, and Ambrosius of introducing it into the Latin church. The prestent
signification of the word extends to certain short passages occasionally drawn from Scripture, and allusive to the particular feast or celebration of the passing day.
# Complete Encyclopaedia of Music/A/Antiphone

Antiphone. (Gr.) The response which, in the Catholic church, one side of the choir makes to the other, in the chant. In Greek music, this word signifies the interval of the octave, whose ratio is half.
# Complete Encyclopaedia of Music/A/Antiquis, Giovanni De

Antiquis, Giovanni De, chapel-master at a town in Naples, published some madrigals at Venice in 1684.
# Complete Encyclopaedia of Music/A/Antico

Antico. (I.) In the ancient style.
# Complete Encyclopaedia of Music/A/Antigenidas

Antigenidas, of Thebes. One of the most renowned musicians of antiquity ; he was appointed flute master to Alcibiades. Aulus Gelbus relates, that Alcibiades, setting up for a fine gentleman, and taking the utmost care of his person, was soon disgusted with his instrument, as Minerva had been before ; for happening to see himself in a mirror while he was playing, he was so shocked at the distortion of his countenance, that he broke his flute in a transport of rage, and threw it away, which brought this instrument into great disgrace among the young men of rank at Athens. This disgust did not, however, extend to the sound of the flute itself ; for we find by Plutarch, that great performers upon it continued long after to be much followed and admired. Antigenidas, notwithstanding the height of his reputation, regarded public favor as a precarious possession, and was never elated by the acclamations of the multitude ; and so fully was he persuaded of the coarse taste of' the common people, that one day, hearing at a distance a violent burst of applause bestowed upon a flute player, he said, "There must be something very bad in that man's performance, or those people would not be so lavish of their approbation." Antigenidas was the author of several improvements on the flute. He increased the number of holes, which extended the compass of that instrument, rendering its tones more flexible and versatile.
# Complete Encyclopaedia of Music/A/Antiphon

Antiphon. (Gr.) In ancient church music, the short verse sung before the psalm and other portions of the Catholic service.
# Collier's New Encyclopedia (1921)/Adams, William Taylor

Edition of 1921; disclaimer.
ADAMS, WILLIAM TAYLOR, an American author and editor, best known by the pseudonym “Oliver Optic”; born July 30, 1822. He was a voluminous and highly popular writer of fiction for young readers, his works including several series of travel and adventure: “Young America Abroad,” “Starry Flag Series,” and others. He died March 27, 1897.
# Collier's New Encyclopedia (1921)/Addams, Jane

Edition of 1921; disclaimer.
ADDAMS, JANE, an American philanthropist and social worker; born in Cedarville, Ill., Sept. 6, 1860. She was graduated at Rockford College in 1881, and after post-graduate studies in Europe and the United States, became an active social reformer. She inaugurated in 1889 the establishment known as Hull House, an adaptation of the “social settlement” plan to Chicago conditions. She has acted as street-cleaning inspector in Chicago, and has lectured on the improvement of the condition of the poor in great cities. In 1912 she took a prominent part in the formation of the Progressive party. Besides many contributions to current periodicals she has published a number of books.
# Collier's New Encyclopedia (1921)/Adder

Edition of 1921; disclaimer.
ADDER, etymologically nadder, the n having been attracted to the article and lost, the common English name of the viper (Vipera berus) . Its color is yellowish brown or olive, with a double series of black spots along the back. The sides are a little paler and are also spotted with black. The adder has a broad, triangular head and a short tail. It rarely exceeds two feet in length. The adder is the only poisonous reptile in Great Britain, and is found in most of the countries of Europe. In the United States the name is popularly applied to several harmless snakes, but the true adder does not occur.
EUROPEAN ADDER
# Collier's New Encyclopedia (1921)/Adding Machines

Edition of 1921; disclaimer.
ADDING MACHINES, contrivances designed to simplify and facilitate the making of arithmetical computations. In recent years they have been greatly improved. They include cash registers, electric tabulating machines, and multiplying and dividing machines. Practically all banks and most large business concerns are now supplied with some form of these labor-saving devices.
# Collier's New Encyclopedia (1921)/Adamson Law

Edition of 1921; disclaimer.
ADAMSON LAW. See Railways.
# Collier's New Encyclopedia (1921)/Addis Abeba

Edition of 1921; disclaimer.
ADDIS ABEBA, the chief city and capital of Abyssinia, in the province of Shoa. It is situated in an elevated country nearly 10,000 feet high. The town is practically without streets and is intersected by deep ravines. It contains the royal palace, which is a pretentious but flimsy structure, and is the seat of several schools. The permanent population is about 50,000. The treaty between Italy and Abyssinia was signed in this city on Oct 26, 1896. By its terms Italy resigned her claims to a protectorate over the country.
# Collier's New Encyclopedia (1921)/Adams, Samuel Hopkins

Edition of 1921; disclaimer.
ADAMS, SAMUEL HOPKINS, an American writer; born in Dunkirk, N. Y., in 1871. He graduated from Hamilton College in 1891 and at once began newspaper work in New York. From 1903 to 1905 he was a member of the editorial staff of “McClure's Magazine.” He wrote “The Great American Fraud,” an exposé of the patent medicine business (1906); “The Clarion” (1914); “Our Square and the People in It” (1917), and contributed many stories and articles to newspapers and magazines.
# Collier's New Encyclopedia (1921)/Adams, Samuel

Edition of 1921; disclaimer.
ADAMS, SAMUEL, an American statesman and Revolutionary patriot; born in Boston, Mass., in 1722. He was elected to the Massachusetts legislature in 1765, was a delegate to the first Continental Congress in Philadelphia, and a signer of the Declaration of Independence. He was active in framing the constitution of his native State, which he served as President of the Senate, Lieutenant-Governor (1789-1794), and Governor (1794-1797). He was zealous for popular rights, and fearless in his opposition to monarchism. He died in 1803.
# Collier's New Encyclopedia (1921)/Aeschylus

Edition of 1921; disclaimer.
​ÆSCHYLUS (es′kil-us), the father of the Athenian drama. He was in the sea fight at Salamis, and received a wound in the battle of Marathon. His most solid fame, however, rests on his power as a tragic poet. Of 90 plays produced by him, 40 were rewarded with the public prize, but only seven have come down to us, though the titles of 72 others are known to us. The seven tragedies still extant are: "The Suppliants"; "The Persians"; "The Seven against Thebes"; "Prometheus Bound"; and a trilogy, "Oresteia" ("Agamemnon"; "Choëphori"; "Eumenides"). He was the first to introduce two actors on the stage, and to clothe them with dresses suitable to their character. He likewise removed murder from the sight of the audience. He decorated the theater with the best paintings of his time, and the ancient, like the modern stage, exhibited temples, sepulchres, armies, fleets, flying cars, and apparitions. He mounted the actors on stilts, and gave them masks to augment the natural sounds of their voices. He was born in Eleusis about 525 b. c. and died in Sicily about 455 b. c. His imagination was strong, but wild, vast in its conception, but greatly dealing in improbabilities. The obscurity of his style is admitted.
# Complete Encyclopaedia of Music/A/Albujio

Albujio, composer and singer, was living, about the year 1760, at Bergamo. Some opera airs of his are occasionally met with.
# Complete Encyclopaedia of Music/A/Alcock, John

Alcock, John, doctor of music, was a native of London, born in 1715. When only seven years of age, he was entered as chorister of St. Paul's, and at fourteen became an articled pupil of Mr. Stanley, who, although at that time himself only sixteen, was organist of two London churches. Dr. Alcock died at Litchfield, in 1806, aged ninety-one. His works consist of six suites of lessons for the harpsichord, and twelve songs, published at Plymouth; six concertos, and some psalms, hymns, and canons, published at Reading ; twenty-six anthems, and a collection of glees, called the "Harmonic Festi; " also many double and single chants, published at Litchfield. At each of the above places he was organist. A glee by Dr. Alcock, entitled "Hail, ever-pleasing Solitude," gained a prize medal at the Catch Club, and is considered to be a beautiful as well as scientific performance.
# Complete Encyclopaedia of Music/A/Aldovandrini

Aldovandrini. This Italian musician composed seven operas for Bologna and Venice, between the years 1696 and 1711. Some of them were comic, especially one entitled "Amor Torna in 58, al 50," which was written in the dialect of the Bolognese peasantry.
# Complete Encyclopaedia of Music/A/Alderinus, Cosma

Alderinus, Cosma, a Swiss composer, published at Berne, in 1553, fifty-seven hymns.
# Complete Encyclopaedia of Music/A/Albrecht, J. M

Albrecht, J. M., organist at Frankfort, was born in 1701. He composed several concertos for the harpsichord.
# Complete Encyclopaedia of Music/A/Albrechtsberger, John George

Albrechtsberger, John George, was born at Klosterneuburg, in the year 1736, and at the age of only seven years was engaged as a singing boy in his native town, from whence he removed to the Abbey of Moelk, where he con-ducted a school. In the mean time he learned the organ and composition of Monn, the court organist, and was soon himself appointed organist at Raab. In 1772, he obtained the situation of court organist, and member of the academy at Vienna, and subsequently was made chapel-master at the Cathedral of St. Stephen's, at Vienna. He died in 1803. Albrechtsberger was one of the most learned of modern contrapuntists. He formed a great number of eminent scholars, among whom Beethoven is particularly distinguished. Haydn had the greatest esteem for Albrechtsberger, and is said sometimes to have consulted him professionally. Of his works, his "Elementary Treatise on Composition," published in 1790, at Leipsic, is the one by which he is most generally known ; it is an excellent book, and is for modern composition what the Gradus of Fux is for ancient music. The principal part of this work has been translated into French. He also wrote "Methods of Harmony," "Figured Bass," and " Composition," adapted for self-instruction. His remains rest in the same burying-place with those of his friends and associates, Haydn and Mozart. Among his distinguished pupils, in addition to Beethoven, were Eybler, Hummel, Soyfried, Lidesdorf, Schneider, Weigl, and Moscheles ; and though Albrechtsberger had no power to form, he had the ability to direct, the minds of these eminent men. He did not make them, but he enabled them to be what they were. The seed fell on good soil, hut it was his seed, and he must have felt proud of such a pupil as that colossus of harmony-the wizard and the poet - BEETHOVEN- Clementi made Albrechtsbergerknown to England as a composer. There seems to have existed, among some of the German school, a predisposition for complicated harmony; their musical aliment appears to have necessarily generated fugue and canon, or the organ of philofugativeness must have been developed in an unusual degree. Albrechtsberger said of himself', "I have no merit in composing good fugues, for I do not recollect ever having an idea that might not be employed in double counterpoint." It is from Albrechtsberger and Sebastian Bach, and like men, that the materiel of harmony is acquired : they have furnished our musical store-houses and arsenals ; they have equipped our Haydns, Mozarts, and Beethovens for the field; they discovered and laid bare "the chains that tie the hidden soul of harmony."
# Complete Encyclopaedia of Music/A/Albrici, V

Albrici, V. A Roman composer and organist, whom the Queen Christina of' Sweden brought with her out of Italy. He died about the year 1680. Most of his compositions are for the church.
# Complete Encyclopaedia of Music/A/Albrecht, J. L

Albrecht, J. L., director of the music in the principal church of Mulhausen, died about the year 1773. He published many didactic works on music.
# Complete Encyclopaedia of Music/A/Alcaeus

Alcaeus. A lyric poet of Mitylene, native of the Isle of Lesbos, and celebrated by the invention of Alcaic verse. He lived 608 years before Jesus Christ. Athenaeus calls him musices scientissimus.
# Complete Encyclopaedia of Music/A/Alcibiades

Alcibiades. This general, like most of the Athenians, had been taught, while young, to play on musical instruments, and he excelled many others. Zopyrus, a Thracian, was his instructor.
# Constab Ballads/Me Whoppin' Big-Tree Boy

I’m aweary weary standin’, wid me heart chock-full o’ grief, An’ a great lump in me bosom, an’ A canna’ get relief: Walkin’ up an’ do’n de road, I see a whoppin’ Syrian-boy, An’ I grudge him, yes I grudge him for his heart so full o’ joy.
’Twas a hot, hot day o’ brain-work, an’ me heart was sick an’ sad, As I staggered ’long de car-line, but de boy’s cheek made me glad: Wid his han’s dem set akimbo in a mannish sort o’ way, Said he “Do wha’ it you like, but A wi’ wuk no mo’ te-day.”
An’ de Syrian grew astonished as he looked upon his load, Which de whoppin’ big-tree boy had tumbled in de middle road: He was boun’ fe Lawrence Tavern, business called him dere to-night, An’ he begged his ole-time carrier jes’ to help him out his plight. ​“Nummo wuk at all fe me is my determination still; Me no care damn wha’ you say, an’ you can jes’ do wha’ you will: Me deh go right back to to’n, yah, underneat’ me old big-tree; All dem boys wid eboe-light dem, dem is waitin’ deh fe me.
“Now I’m free fe talk abouten all de people whe’ you rob, How you sell wha’ no wut gill self to black naygur for a bob; But me eboe-light wi’ sure talk, of dat you can have no doubt, Fe revenge de quantity o’ poor poor people you play out.
“Jes’ becausen say dem poo’ so, an’ t’rough poverty dem mus’ Tek a couple o’ t’ings from you dat you’re trick enough fe trus’, You robbin’ dem so badly; but A sorry fe you dough, How we boys beneat’ de big-tree really mean fe mek you know.”
Then I roared, I roared with laughter, although posted on my beat, Till I half forgot de sore pain in me bosom an’ my feet: Ah! I wish I knew a little, jes’ a little of de joy Dat Nature has bestowed on you, my whoppin’ big-tree boy.
# Constab Ballads/Disillusioned

Can you leave me so, my Dan, Can you leave you’ little Fan ’Ter all o’ me lub fe you?— An’ my heart is still true, true.
Can you leave me, leave me so, Full me heart wid grief an’ woe, Leave me to a bitter fate, When I’m in dis awful state?
’Member you de days gone by When for me you said you’d die? How you let me see you’ heart, Vowing we could never part?
’Member you my foolish pride When we be’n up mountain-side? How you go do’n ’pon you’ knee, Sayin’ you’d be true to me?
An’ I followed you away Do’n to dis ya dreary bay; Fool to lef’ me mudder’s home, When she said me shouldn’ come! ​Now, sake ob a to’n-bred miss, You mus’ treat me laka dis! Tramplin’ me under you’ feet, Tu’nin’ me out in de street.
Will she warm you when you’re chill? Will you get of lub you’ fill? Will she starve herse’f fe you, As I always use’ fe do?
Will a to’n gal go bare-feet, Jes’ fe try mek two ends meet? Will she car’ water an’ wash, Jes’ fe help out you’ lee cash?
Is she sweet an’ undefile’ As you took me, jes’ a chil’, ’Fo’ I knew about de wul’, Gave to you my pure pure soul?
Will you leave me all forlorn ’Fo’ de lilly baby’s born?— Who wi’ eber tek me in Wid dis dreadful load o’ sin?
Foolish, foolish young gals who T’ink a constab could be true! Foolish, foolish every one Who will trus’ a póliceman! ​Dem wi’ ondly try fe rob All de good you mighta hab; An’ ’fo’ you can count de cost, You wi’ find you’se’f lost, lost.
Will you leave me, heartless Dan, For a risky to’n woman? When I’m burdened do’n wid woe, Will you leave me, leave me so?
# Constab Ballads/Fire Practice

Pam-pa-pam, pam-pa-pam, pam-pa-pam, Hea’ de fire-bugle blow! Pam-pa-pam, pam-pa-pam, pam-pa-pam, Depôt boys, tu’n do’n below!
Runnin’ do’n out o’ de big barrack-room, Haulin’ de two engine out o’ de shed; Formin’ up into a long double line, Wait tell de fus’ wud o’ cómmand is said.
Soon as we hea’ it we start t’rough de gate, Wid buckets, ledder, an’ engine an’ key: Joyously happy, with right cheery will Tramp we away from de big Depôt lea.
Whole line in twos we go marchin’ along, List’nin’ de tramp-trampin’ tune of our feet, Side winks a-givin’ our gals as we pass Merrily, nimbly along White Church Street.
At de shrill soun’ o’ de whistle we halt, An’ when de engine an’ all is fixed square, We start a-pumpin’ wid might an’ wid main, Sendin’ clear water chock up in de air. ​Pumpin’ an’ pumpin’ an’ pumpin’ away, Pumpin’ in earnest, yet pumpin’ wid fun, Once more again by de whistle we stop,— An’ den de day’s fire-practice is done.
Pam-pa-pam, pam-pa-pam, pam-pa-pam, Hea’ de fire-bugle blow! Pam-pa-pam, pam-pa-pam, pam-pa-pam, Depôt boys, tu’n do’n below!
Note.—The first and last stanzas go to the following tune in F, two-four time: 1st bar; crotchet rest, quaver rest, 2 semiquavers C third space. 2nd bar; quaver C, 2 semiquavers A (the 3rd below), 2 semiquavers F (3rd below again). 3rd bar; crotchet F, quaver rest, 2 semiquavers C (middle C). 4th bar; 2 semiquavers F, 2 semiquavers middle C, crotchet F. 5th bar; same as 1st; 6th, same as 2nd; 7th, same as 3rd. 8th bar; dotted quaver F, semi-quaver F, dotted quaver middle C, semiquaver middle C. 9th bar; minim F.
# Constab Ballads/Flat-Foot Drill

Fus’ beginnin’, flat-foot drill, Larnin’ how fe mek right tu’n: “’Tention! keep you’ han’s dem still, Can’t you tek in dat a li’l? Hearin’ all, but larnin’ none.
“But seems unno all do’n-ca’, Won’t mek up you’ min’ fe larn; Drill-instructor boun’ fe swea’, Dealin’ wid you’ class all day, Neber see such from A barn.
“Right tu’n, you damn’ bungo brut’! Do it so, you mountain man; Car’ behin’ de bluff lef’ foot, Seems i’ frighten fe de boot! Why you won’t keep do’n you’ han’?
“Shet you’ mout’! A wan’ no chat! Fabour say you pick up nong, Sence you nyamin’ Depôt fat An’ ’top sleep ’pon so-so mat, But A mean fe pull you’ tongue. ​“Wonder when unno wi’ fit Fe move up in-a fus’ squad, Use carbine an’ bayonet! Wait dough,––unno wi’ larn yet,–– Me wi’ drill you ti’ you mad.”
* ↑ It seems you are getting “beany” now.
* ↑ so that you can’t talk.
# Constab Ballads/Papine Corner

When you want to meet a frien’, Bide up to Papine, Where dere’s people to no en’, Old, young, fat an’ lean: When you want nice gals fe court An’ to feel jus’ booze’, Go’p to Papine as a sport Dress’ in ge’man clo’es.
When you want to be jus’ broke, Ride up wid your chum, Buy de best cigars to smoke An’ Finzi old rum: Stagger roun’ de sort o’ square On to Fong Kin bar; Keep as much strengt’ dat can bear You do’n in de car.
When you want know Sunday bright, Tek a run up deh When ’bout eight o’clock at night Things are extra gay: Ef you want to see it cram’, Wait tell night is dark, An’ beneat’ your breat’ you’ll damn Coney Island Park. ​When you want see gals look fine, You mus’ go up dere, An’ you’ll see them drinkin’ wine An’ all sorts o’ beer: There you’ll see them walkin’ out, Each wid a young man, Watch them strollin’ all about, Flirtin’ all dem can.
When you want hear coarsest jokes Passin’ rude an’ vile, Want to see de Kingston blokes,— Go up dere awhile: When you want hear murderin’ On de piano, An’ all sorts o’ drunken din, Papine you mus’ go.
Ef you want lost póliceman, Go dere Sunday night, Where you’ll see them, every one Lookin’ smart an’ bright: Policeman of every rank, Rural ones an’ all, In de bar or on de bank, Each one in them sall.
Policeman dat’s in his beat, Policeman widout, Policeman wid him gold teet’ Shinin’ in him mout’; ​Policeman in uniform Made of English blue, P’liceman gettin’ rather warm, Sleuth policeman too.
Policeman on plain clo’es pass, Also dismissed ones; See them standin’ in a mass, Talkin’ ’bout them plans: Policeman “struck off de strengt’ Physical unfit,” Hear them chattin’ dere at lengt’ ’Bout a diffran’ kit.
When you want meet a surprise, Tek de Papine track; Dere some things will meet you’ eyes Mek you tu’n you’ back: When you want to see mankind Of “class” family In a way degra’ them mind, Go ’p deh, you will see.
When you want a pleasant drive, Tek Hope Gardens line; I can tell you, man alive, It is jolly fine: Ef you want to feel de fun, You mus’ only wait Until when you’re comin’ do’n An’ de tram is late.
# Constab Ballads/Fe Me Sal

In de blazin’ midday heat, when I’m posted on me beat, Who I t’inkin’ of but fe me Sal? She is eber in me mind, ne’er a better you will find, She’s me only lub, de best o’ country gal.
When I started out fe roam from me treasured mountain-home, All me wanderin’s were for her good; A be’n ondly fe her sake why dis job I undertake, An’ she cheer me when I’m sad an’ out o’ mood.
Any wuk I’m put to do, me jes’ feel she’s wid me too, Biddin’ me fe toil bedouten fret; An’ when all de duty’s done, an’ me go to sleep alone, ’Tis but dreamin’ o’ me darlin’ little pet.
When me deh ’pon station guard, dere is ondly one reward, For I get fe write her sweet lub-wuds; Den me finish up her name wid a pile o’ flourish dem, An’ me seal de letter up wid jesmy buds.
When me go patrol a day, she’s me one lee bit o’ stay As A deh climb up Bardowie hill; An’ A somehow favour know dat, wherever I may go, Her soul an’ heart wi’ eber be mine still. ​Ef me goin’ to de race I’m a-t’inkin’ of her face, An’ A feel her shedah at me side; Ef me eatin’ me lee grub, I’m a-t’inkin’ o’ de lub Dat me ha’ fe her alone so free an’ wide.
Udder p’liceman ha’ dem gal, but dere’s none like fe me Sal, Dey can neber trus’ fe dem like me; And I needn’t eber fear, ef I’m transferred anywhere, For me Sally is as true as true can be.
She’s de darlin’ o’ me life, an’ shall one day be me wife Jes’ as soon as eberyt’ing is ripe; An’ me hab a feelin’ strong dat it will not be too long ’Fo’ me get fe wear an Acting Corp’ral’s stripe.
She’s de darlin’ o’ me heart, an’ we’ll neber neber part, She’s de prettiest black gal in de wul’; An’ whereber you may go you won’t find anedder so, Wid more tender min’ an’ better sort o’ soul.
So de day shall soon arrive when de two o’ we shall drive To de parish church at Half Way Tree: An’ we’ll stroll back t’rough de gate, me Sal a corpy’s mate, An’ we’ll be as happy-happy as can be.
# Constab Ballads/Free!

Scarce can I believe my eyes, Yet before me there it lies, Precious paper granting me Quick release from misery.
So farewell to Half Way Tree, And the plains I hate to see! Soon will I forget my ills In my loved Clarendon hills.