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

Aeolian attachment. This is the name which the ingenious inventor, Coleman, has affixed to one of those musical desiderata, which have been rather hoped for than expected. All pianists and manufacturers of the instrument have long felt that artistic skill and mechanical ingenuity had vainly essayed to banish that woodiness of sound, and want of sustained vibration, that attended the emission of its tone. The Aeolian Attachment not only removes the evils that are inherent in the piano-forte, but imparts to it a distinctive vibratory and sustaining power, combining the rich volume and swell of the organ with the passionate intensity and pathetic tenderness elicited from an Amati, or a Straduarius, by a gifted violinist. By the aid of this invention, the dominant vibration may be sustained during the execution of the most difficult passages, and yet there is the most perfect assimilation of sound; indeed, not only is the necessary balance never destroyed, but the general quality of tone is improved. The power of the lower portion of the piano-forte may be increased to that of the lower double C of an organ pipe of thirty-two feet. But the principal advantage is gained in the middle region of the instrument ; and here the most delicate shades of feeling may be expressed : the white and black keys seem instinct with human passion, and all the various emotions which the most accomplished vocalist call feel and achieve are placed beneath the fingers and at the command of the performer. And yet the piano-forte is not bereft of its peculiar nature ; all its usual re-sources remain undisturbed ; and so perfect is the application of the invention, that it is adapted to every class of' piano-forte, large or small, square or upright, thin and poor, powerful and brilliant. Like the soul of harmony, it lies concealed with-in, and its voice is alone evoked at the will of the performer. Its only external sign is an extra pedal, and the slightest pressure is ample to draw forth the vocal power. It is the invention of Mr. Coleman, an American gentleman, who has devoted many years to he labor which he has so triumphantly achieved.
# Complete Encyclopaedia of Music/A/Added sixth

Added sixth. A sixth added to a fundamental chord.
# Complete Encyclopaedia of Music/A/Adcock, Abraham

Adcock, Abraham. An English composer at the beginning of the last century.
# Complete Encyclopaedia of Music/A/Aeolian harp, lyre

Aeolian harp, lyre, or ANEMOCHORD. A. musical instrument, first described by Kircher,* which produces the most delicate and enchanting tones merely by the impulse of the wind. It is composed of a rectangular box, made of very thin deal, of the same width as the window in which it is placed, and about five inches deep and six inches wide. Over the upper surface of this box, which is pierced with sounding holes, like the sounding board of the fiddle, are stretched several catgut or wire strings, with a slight degree of tension. When these strings are in unison, and the instrument exposed in the window to the action of a gentle breeze, they will emit the most agreeable combination of wild and melting sounds, changing from one harmonic of the string to another, according to the varying impulse of wind, and its unequal action on the different parts of the vibrating strings. In the Aeolian harp constructed by the Rev. W. Jones, the strings, instead of being on the outside, are fastened to a sounding board within a wooden case, and the wind is conveyed to the strings through a horizontal aperture. The instrument may then be used even in the open air. Dr. Young says, to remove all uncertainty in the order of the notes in the lyre, I took off all the strings but one ; and on placing the instrument in a due position, was surprised to hear a great variety of notes, and frequently such as were not produced by any aliquot part of the string ; often, too, I heard a chord of two or three notes from this single string. Discords are also often heard from the unison strings of this instrument ; the cause of which is evident from the manner in which the notes are generated ; for the aliquot parts of a string contain in themselves an infinite variety of discords.
# City of Indianapolis v. Chase National Bank of New York

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
314 U.S. 63
City of Indianapolis v. Chase National Bank of New York
Argued: Oct. 15, 16, 1941. --- Decided: Nov 10, 1941
See 314 U.S. 714, 62 S.Ct. 355, 86 L.Ed. --.
Mr. Howard F. Burns, of Cleveland, Ohio, for Chase Nat'l Bank.
Mr. Wm. H. Thompson, of Indianapolis, Ind., for City of Indianapolis.
[Argument of Counsel from pages 64-67 intentionally omitted]
Mr. Wm. G. Sparks, of Indianapolis, Ind., for Citizens Gas Co.
Messrs. Wm. R. Higgins and Louis B. Ewbank, both of Indianapolis, Ind., for Indianapolis Gas Co.
Mr. Justice FRANKFURTER delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# City of Lincoln Neb v. Ricketts

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
297 U.S. 373
City of Lincoln Neb v. Ricketts
Argued: Feb. 5, 1936. --- Decided: March 2, 1936
Messrs. Don W. Stewart, of Lincoln, Neb., and Karl W. Kindleberger, of Washington, D.C., for petitioners.
Mr. R. A. Boehmer, of Lincoln, Neb., for respondent.
Mr. Chief Justice HUGHES delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# City of Houston v. Southwestern Bell Telephone Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
259 U.S. 318
City of Houston v. Southwestern Bell Telephone Company
Argued: April 24, 25, 1922. --- Decided: May 29, 1922
Messrs. W. J. Howard, Sewall Myer, and A. E. Amerman, all of Houston, Tex., for city of Houston.
Messrs. C. M. Bracelen, of New York City, Nelson Phillips, Joseph D. Frank, David A. Frank, and W. H. Duls, all of Dallas, Tex., and N. T. Guernsey, of New York City, for Southwestern Bell Telephone Co.
Mr. Justice CLARKE delivered the opinion of the court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# City of Jonesboro v. Cairo

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
110 U.S. 192
City of Jonesboro v. Cairo
Wm. S. Day and Sidney Grear, for appellant.
Geo. A. Sanders, for appellees.
HARLAN, J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Consolation (Mendelssohn)

Op. 30, no. 3, from Songs Without Words, 1833. It is commonly used as a hymn tune, sometimes called Felix.
* "Still, Still with Thee" in The Army and Navy Hymnal, 1920.
* "We Would See Jesus" in The Army and Navy Hymnal, 1920.
# Consolidated Appropriations Act

* Search for titles containing or beginning with: "Consolidated Appropriations Act."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Omnibus Consolidated Rescissions and Appropriations Act of 1996 (Public Law 104-134)
* Omnibus Consolidated Appropriations Act, 1997 (Public Law 104-208)
* Consolidated Appropriations Act, 2000 (Public Law 106-113)
* Consolidated Appropriations Act, 2001 (Public Law 106-554)
* Consolidated Appropriations Act, 2008 (Public Law 110-161)
* Consolidated Security, Disaster Assistance, and Continuing Appropriations Act, 2009 (Public Law 110-329)
* Omnibus Appropriations Act, 2009 (Public Law 111-8)
* Consolidated Appropriations Act, 2010 (Public Law 111-117)
Also sometimes cited as an "Omnibus" appropriations act.

## See Also

* Continuing Appropriations Resolution
* Supplemental Appropriations Act

### Similar Acts

* Omnibus Budget Reconciliation Act
# Consolidated Appropriations Act, 2005/Division A
## DIVISION A — Agriculture, Rural Development, Food and Drug Administration, and Related Agencies Appropriations Act, 2005

    Title I — Agricultural Programs
    Title II — Conservation Programs
    Title III — Rural Development Programs
    Title IV — Domestic Food Programs
    Title V — Foreign Assistance and Related Programs
    Title VI — Related Agency and Food and Drug Administration
    Title VII — General Provisions
This division may be cited as the "Agriculture, Rural Development, Food and Drug Administration, and Related Agencies Appropriations Act, 2005".
# Complete Encyclopaedia of Music/B/Bass beam

Bass beam, or BASS BRIDGE. The name given by instrument makers to the small beam inside the viol, and nearly under the bass string.
# Complete Encyclopaedia of Music/B/Bass counter

Bass counter, or CONTRA BASS. The under bass. That part which, when there are two basses in it composition, is performed by the double basses, the violoncellos taking the upper bass, or basso concertante.
# Complete Encyclopaedia of Music/B/Bass grace

Bass grace. A small note, like a short appoggiatura, and very similar to the acciaccatura of the Italians. It is struck only once, and at the stone time with the principal note. but is immediately quitted. It is frequently used upon the organ to strengthen the parts, and to supply the want of pedals.
# Complete Encyclopaedia of Music/B/Bass, base

Bass, base, or BASSO. All have the same meaning ; the lowest or deepest part. Bass is thus written in imitation of the Italian basso, which is the English base, low, or, substantively, basis, foundation ; yet with the pronunciation of base and plural bases. The bass, or lowest part, is, with sound musicians, the most important of all the parts. It is, indeed, the foundation of the harmony - the support of the whole superstructure of the composition. The word bass is technically used in various connections ; as, Thorough Bass, Fundamental Bass, Ground Bass, Figured Bass, &c., all of which will be noticed. A Figured Bass is a bass with figures written over or under each note, to indicate the accompanying harmonies. The term Figured Bass is also used as synonymous with Figurative Bass, meaning a bass not confined to the plain canto-fermo style, but moving with more freedom, and with a melody of its own. For instance, the Bass in Bach's arrangement of "Old Hundred." (See ALTERATIONS.) Fundamental Bass is that bass which forms the tone, ca natural foundation, of the incumbent harmony, and from which, as a lawful source, that harmony is derived. To explain this by an example : If the harmony consists of the common chord of C, C will be its fundamental bass, because from that note the harmony is deduced; and if, while that 'harmony is continued, the bass be changed to any other note, it ceases to be fundamental, because it is no longer the note from which that harmony results, and is calculated. Ground Bass is used sometimes as synonymous with Fundamental Bass, and sometimes as a bass which starts with some subject of its own, and continues to be repeated throughout the movement, while the upper part, or parts, of the composition pursue a separate air, and supply the harmony. This kind of bass was greatly in fashion about half a century since, but has for some time been rejected as an unnatural restraint upon the imagination, and productive of a monotonous melody. Thorough Bass is the art by which harmony is superadded to any proposed bass, and includes the fundamental rules of composition. This branch of the musical science is twofold, theoretical and practical. Theoretical Thorough Bass comprehends the knowledge of the connection and disposition of all the several chords, harmonious and dissonant, and includes all the established laws by which they are formed and regulated. Practical Thorough Bass is conversant with the manner of taking the several chords on an instrument, as prescribed by the figures placed over or under the bass part of a composition, and supposes a familiar acquaintance with the powers of these figures, a facility in taking the chords they indicate, and judgment in the various applications and effects of those chords in accompaniment. The Bass is that part of a concert which is the most heard ; which consists of the gravest and largest sounds, or which is played on the longest pipes or strings of a common instrument, or on instruments larger than common for the purpose.
# Complete Encyclopaedia of Music/B/Bass chantante

Bass chantante. (F.) Singing bass. This expression is applied to any bass, the notes of which flow in a smooth and pleasing manner ; forming in themselves, independently of the superior parts, a grateful kind of melody. Not the fundamental bass, but the second, or melodious bass.
# Complete Encyclopaedia of Music/B/Basilio, Francesco

Basilio, Francesco. An opera composer at Milan about the year 1790.
# Complete Encyclopaedia of Music/B/Basilu, D. F

Basilu, D. F. A composer in the latter part of the seventeenth century. Ile lived at Perouse.
# Complete Encyclopaedia of Music/B/Bass clef

Bass clef. The character placed at the beginning of a staff, in which the bass or lower notes of a composition are placed, and serving to determine the pitch and names of those notes.
# Complete Encyclopaedia of Music/B/Bass clef note

Bass clef note. That note which in the bass staff is placed on the some line with the bass clef; i. e., the fourth line.
# Collier's New Encyclopedia (1921)/Hillebrand, William Francis

Edition of 1921; disclaimer.
HILLEBRAND, WILLIAM FRANCIS, an American chemist, born in Honolulu, in 1853. He studied at Cornell University, graduated from the University of Heidelberg in 1875, and afterward studied at other German universities. From 1880 to 1908 he was chemist of the United States Geological Survey. In the latter year he was appointed chief chemist of the Bureau of Standards. He was professor of general chemistry and physics at the National College of Pharmacy, from 1892 to 1910; president of the American Chemical Society in 1906; and in 1908 he became editor of the “Journal of Industrial and Engineering Chemistry.” He was the author of several books on chemical subjects.
# Collier's New Encyclopedia (1921)/Hillel the Elder

Edition of 1921; disclaimer.
HILLEL THE ELDER, surnamed Hassaken, a Jewish rabbi; born in Babylonia. He lived in the century preceding the Christian era. At the age of 40 he removed to Jerusalem, where he studied the law with such diligence as to become master of the chief school of that city. He formed a new digest of the traditionary law, from which the “Mishna,” or earliest part of the Talmud, is derived. He lived to the great age of 120 years.
# Collier's New Encyclopedia (1921)/Hillel the Younger

Edition of 1921; disclaimer.
HILLEL THE YOUNGER, called Nasi, or prince of the captivity, presided over the Jewish Church in the 3d and 4th centuries, and distinguished himself by his great astronomical learning, reforming the Jewish calendar, regulating the period of the equinoxes, etc. Hillel was also one of the doctors to whom is ascribed that portion of the Talmud called “Gemara.”
# Collier's New Encyclopedia (1921)/Hoeber, Arthur

Edition of 1921; disclaimer.
HOEBER, ARTHUR, an American painter; born in New York City in 1854. He studied in New York and Paris. While well known as a successful painter his reputation perhaps rests on his art criticism. He was art director for the “New York Times” for three years and was assistant editor of the “Illustrated American” for one year. He later was art critic for the “New York Globe” and “Commercial Advertiser.” He was also widely known as a lecturer on art subjects. His popular writings include “The Treasures of the Metropolitan Museum of Art” (1892); “Painting in the Nineteenth Century in France, Belgium, Spain and Italy.” He was a member of the International Art Association of Chicago. He died in 1915.
# Collier's New Encyclopedia (1921)/Helsingfors

Edition of 1921; disclaimer.
HELSINGFORS, a seaport and capital of Finland, on a peninsula in the gulf of that name, 180 miles W. N. W. of St. Petersburg. Helsingfors is the residence of the governor, the seat of important courts and public offices, and contains a university removed from Abo in 1827. It has manufactures of linen, sail-cloth, and tobacco, an important trade in timber, corn, and fish, and one of the best harbors in the Baltic. Pop. with Sveaborg (1917) 187,544.
# Collier's New Encyclopedia (1921)/Hillah

Edition of 1921; disclaimer. Now part of Iraq.
HILLAH, or HILLA, a town of Turkey in Asia; on the Euphrates river, 60 miles S. of Bagdad, near the ruins of Babylon, out of which it is built. Tanning and the manufacture of silk, cotton, and woolens are carried on.
# Collier's New Encyclopedia (1921)/Hillard, George Stillman

Edition of 1921; disclaimer.
HILLARD, GEORGE STILLMAN, an American lawyer; born in Machias, Me., Sept. 22, 1808. As a Massachusetts legislator he was commended by Daniel Webster, and he was conspicuous as an orator. He published “Six Months in Italy” (1853); “Life of George Ticknor” (with Mrs. Ticknor); “Life of George B. McClellan” (1864); also a series of school readers, and an addition of Spenser. He died in Boston, Mass., Jan. 21, 1879.
# Collier's New Encyclopedia (1921)/Hoe, Richard Marsh

Edition of 1921; disclaimer.
HOE, RICHARD MARSH, an American inventor; born in New York City, Sept. 12, 1812. In 1846 he perfected a rotary printing-press which was called “Hoe's lightning press.” Subsequently he invented the Hoe web perfecting press. These were especially adapted to newspaper printing and made a revolution in that art. He died in Florence, Italy, June 7, 1886.
# Collier's New Encyclopedia (1921)/Hemans, Felicia Dorothea

Edition of 1921; disclaimer.
HEMANS, FELICIA DOROTHEA, an English poet; born in Liverpool in 1794. She first appeared as an author in 1808, with a volume entitled “Early Blossoms,” which was followed in 1812 by her more successful volume, “The Domestic Affections.” In the same year she married Captain Hemans, who, however, left her six years later, shortly before the birth of her fifth son. She then devoted herself to literature, winning public notice by her poems. In 1830 she published one of her most popular volumes, “Songs of the Affections.” In 1831 she removed to Dublin, where she published her “Hymns for Childhood,” “National Lyrics and Songs for Music,” and “Scenes and Hymns of Life.” She died in 1835.
# Collier's New Encyclopedia (1921)/Hilles, Charles Dewey

Edition of 1921; disclaimer.
HILLES, CHARLES DEWEY, an American politician, born in Belmont co., O., in 1867. He had a high school and academic education and from 1880 to 1902 was financial officer and superintendent of the Boys' Industrial School of Ohio. From the latter year until 1909 he was superintendent of the New York Juvenile Asylum, becoming president of this institution. He was Assistant Secretary of the United States Treasury in 1909, but resigned in 1911 to become secretary to President Taft. In 1912 he was elected chairman of the Republican National Committee. He was a member of the Republican National Committee from New York in the campaign of 1920.
# Consolidated Fund (No. 2) Act 1896

* related portals: Parliament of the United Kingdom.
* sister projects: Wikidata item.
Layout 2 From the The Public General Statutes (1986),
CHAPTER 7.
[21st May 1896.]
Most Gracious Sovereign, WE, Your Majesty's most dutiful and loyal subjects, the Commons of the United Kingdom of Great Britain and Ireland, in Parliament assembled, towards making good the supply which we have cheerfully granted to Your Majesty in this session of Parliament, have resolved to grant unto Your Majesty the sum herein-after mentioned; and do therefore most humbly beseech Your Majesty that it may be enacted; and be it enacted by the Queen's most Excellent Majesty, by and with the advice and consent of the Lords Spiritual and Temporal, and Commons, in this present Parliament assembled, and by the authority of the same, as follows:
Issue of 27,442,207l out of the Consolidated Fund for the service of the year ending 31st March 1897 2. The Treasury may issue out of the Consolidated Fund of the out of the United Kingdom of Great Britain and Ireland, and apply towards making good the supply granted to Her Majesty for the service of ​the year ending on the thirty-first day of March one thousand eight hundred and ninety-seven the sum of twenty-seven million four hundred and forty-two thousand two hundred and seven pounds.
Power to the Treasury to Borrow2. The Treasury may borrow from any person, and the Bank of England may advance to the Treasury on the credit of the said sum, any sum or sums not exceeding in the whole the sum of twenty-seven to borrow, million four hundred and forty-two thousand two hundred and seven pounds, and the Treasury shall repay the moneys so borrowed with interest not exceeding five pounds per centum per annum, out of the growing produce of the Consolidated Fund at any period not later than the next succeeding quarter to that in which the said moneys were borrowed-
Any moneys so borrowed shall be placed to the credit of the account of the Exchequer, and shall form part of the said Consolidated Fund, and be available in any manner in which such fund is available.
Short title 3. This Act may be cited as the Consolidated Fund (No. 2) Act,1896.