OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Perle du Brésil, La

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

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

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

From volume 2 of the work.
​PERGOLA, LA. La Pergola is the principal theatre of Florence, and takes its name from that of the street in which it is situated. It is under the management of thirty proprietors, who form the society—or, to use the English term, the company—of the Immobili. Operatic music and ballets are the only kind of performances given in this theatre, which is the 'Grand Opera' of Florence. The interior of the house is handsomely fitted and decorated, and is capable of accomodating about 2500 spectators.
[ L. R. ]
# A Dictionary of Music and Musicians/Perielesis

From volume 2 of the work.
​PERIELESIS (Gr. περιείλησις, a convolution). A long, and sometimes extremely elaborate form of Ligature, sung towards the close of a Plain Chaunt Melody. It differs from the Pneuma in that it is always sung to a definite syllable; whereas the very essence of the Pneuma lies in its adaptation to an inarticulate sound. Like the Cadenza in modern music, the Perielesis generally makes its appearance in connection with the penultimate or antepenultimate syllable of a final phrase: but it is not absolutely necessary that the phrase should be a final one, or that the entrance of the Perielesis should be deferred until its conclusion.
The Melody of 'Æterna Christi munera' exhibits a fine example of an antepenultimate Perielesis, in the 1st and 4th lines, and an equally effective one on the final syllable of the 3rd line.
A more elaborate form furnishes the distinguishing characteristic of 'Ite missa est' and 'Benedicamus Domino,' and is found, in the ​former case, on the first syllable, as well as on that before the antepenultimate.
The Perielesis may consist either entirely of notes of equal length, or of an intermixture of Longs, Breves, and Semibreves. In the former case, it is not always necessary to sing all the notes with exact equality of duration. In the latter, the Long must always be made longer than the Breve, and the Breve longer than the Semibreve; but it is neither necessary nor desirable that the notes should be sung in the strict proportion demanded by the laws of Measured Music.
A good example of Perielesis, where we should hardly look for it, is in a well-known passage in Mr. Sullivan's 'H.M.S. Pinafore':—
[ W. S. R. ]
# A Dictionary of Music and Musicians/Period

From volume 2 of the work.
​PERIOD. A Period is one of the divisions which characterise the form of musical works, especially in such as are not very elastic in construction, as Tunes and Airs; and, frequently, the main subjects of large works in their simple exposition. It is common to find in these a first division ending with a half close followed by one ending with a full close, as in this example from Beethoven's Sonata, op. 109:—
[ C. H. H. P. ]
# 1911 Encyclopædia Britannica/Tlaxcala (town)

See also Tlaxcala City on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TLAXCALA, a town of Mexico, capital of a state of the same name, on the Atoyac river, 58 m. E. of Mexico city by rail. Pop. (1900), 2715. It is of historic interest in connexion with the conquest of Mexico by Cortés. The state-house is its only fine edifice of a political character, and the old bishop’s palace its finest building of a religious character. Of most historic interest, perhaps, is the church of San Francisco, the first erected on the American continent, which still contains the vestments, pulpit, font and cedar ceiling brought from Spain in 1521. The handsome sanctuary over the holy well of Ocotlan, on a hill outside the town, is one of the landmarks of the surrounding country.
# 1911 Encyclopædia Britannica/Toad

See also Toad on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOAD, a name commonly applied in contradistinction to "frog," to tailless batrachians of stout build, with more or less warty skin. Thus, of the two closely related discoglossid genera Bombinator and Discoglossus, the former is called a toad and the latter a frog. But the true toads are the Bufonidae. arciferous batrachians with dilated processes to the sacral vertebra and without any teeth in the jaws. The type of the family is our common toad, Bufo vulgaris, and round it cluster a large of number of species of the same genus, and the smaller genera; Eupemphix, Pseudophryne, Nectophryne, Nectes, Notaden, Myobatrachus, Rhynophrynus and Cophophryne. That the shape of the body is not a safe guide in judging of the batrachians is shown by certain species, such as Bufo jerboa, which in its slender form and extremely long limbs surpasses the typical frogs, while on the other hand, some true frogs (Rana), adapted to burrowing habits, are absolutely toad-like. The Bufonidae include terrestrial, burrowing, thoroughly aquatic and arboreal types; Rhinophrynus, of Mexico, might be described as an ant- eater.
The genus Bufo embraces about 100 species, and is repre- sented in nearly every part of the world except the Australian region and Madagascar. Two species are found in the British Isles: the common toad, Bufo vulgaris, and the natterjack, Bufo calamita. The former is found almost everywhere; the second, which differs in its shorter limbs with nearly free toes (which are so short that the toad never hops but proceeds in a running gait) and it usually possessing a pale yellow line along the middle of the back, is local in England, the south-west of Scotland, and the west of Ireland; it is further remarkable for the very loud croak of the males, produced by a large vocal bladder on the throat which, when inflated, is larger than the head. Toads lay their eggs in long strings, forming double files in straight jelly-like tubes.
A small toad, Pseudophryne vivipara, recently discovered in German East Africa, has proved to be viviparous, this being the only such instance known among tailless batrachians.
# 1911 Encyclopædia Britannica/Toast

See also Toast on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOAST, a slice of bread scorched brown on the two surfaces by the heat of a fire. The word was borrowed from the O. Fr. toste, Lat. torrere, tostum, to scorch, burn. It was formerly the custom to have pieces of toast floating in many kinds of liquor, especially when drunk hot. It is said to be from this custom that the word is used of the calling upon a company to drink the health of some person, institution or cause (see Health).
# 1911 Encyclopædia Britannica/Tobin, John

See also John Tobin (dramatist) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOBIN, JOHN (1770–1804), English dramatist, was born at Salisbury on the 28th of January 1770, the son of a merchant. He was educated at Bristol Grammar School, and practised in London as a solicitor. From 1789 he devoted all his spare time to writing for the stage. He submitted no fewer than thirteen plays before, in 1803, he got an unimportant farce staged. In 1804, having just submitted his fourteenth play, a romantic blank verse drama entitled The Honey Moon, to the Drury Lane management, he came to the conclusion that it was useless to continue playwriting and left London to recruit his health. The news that his play had been accepted came too late. He had long had a tendency to consumption, and was ordered to winter in the West Indies. He left England on the 7th of December 1804, but died on the first day of the voyage. In the following year The Honey Moon was produced at Drury Lane, and proved a great success. Several of Tobin’s earlier plays were subsequently produced, of which The School for Authors, a comedy, was probably the best.
See also The Memoirs of John Tobin, with a selection from his unpublished writings, by Miss Benger (London, 1820).
# 1911 Encyclopædia Britannica/Tobogganing

See also Toboggan on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOBOGGANING (Micmac Indian, tobaakan, sledge), the sport of sliding down snow-covered hills and artificial ice-shutes on the toboggan, a sled from 3 ft. to 8 ft. long and 2 ft. to 3 ft. wide, formed of strips of wood from 1/4 in. to 1/2 in. in width, fitted together and curved up at the front. The toboggan is not so well fitted for use on roads that are not steep or very smooth as is the sled provided with runners, but is generally used on open hills, or upon artificial courses (chutes), which are very popular in Canada. For “Tobogganing,” as known in the Engadine winter resorts, see Coasting.
# 1911 Encyclopædia Britannica/Toadstool

See also Mushroom on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOADSTOOL, the popular name for fungi which more or less resemble mushrooms but are either poisonous or worthless as food.
# 1911 Encyclopædia Britannica/Tobago

See also Tobago on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOBAGO, an island in the British West Indies, 20 m. N.E. of Trinidad, in 11° 15" N. and 60° 40' W. Pop. 18,751. It is 26 m. long and 71/2 m. broad, and has an area of 114 sq. m. or 73,313 acres, of which about 10,000 are under cultivation. It consists of a single mountain mass (volcanic in origin), 18 m. in length, and rising in the centre to a height of 1800 ft. A great part of the island is clothed with dense forest, in which many valuable hardwood trees are found. The higher lands form part of what is known as the “Rain Preserve,” where, in order to attract and preserve the rainfall, the trees are never allowed to be felled. The average temperature is 81° F. and the yearly rainfall is 66 in. The rainy season lasts from June to December, with a short interval in September. The valleys are particularly adapted to horse- and sheep-farming, which are growing industries. The soil is fertile and produces rubber, cotton, sugar, coffee, cocoa, tobacco and nutmegs, all of which are exported; pimento (allspice) grows wild in the greatest profusion. The schools are conducted by various denominations, assisted by government grants. The island is divided into seven parishes. Scarborough (pop. 769), the capital, is on the south coast, 8 m. from its south-western point. It stands at the foot of a hill 425 ft. high, on which is situated Fort King George, now without a garrison. There is a lighthouse at Baedlet Point. Tobago, properly Tobaco, was discovered in 1498 by Columbus, who ​named it Assumption, and the British flag was first planted in 1580. It afterwards passed into the hands of the Dutch and then of the French, and was finally ceded to the British in 1814. Until 1889 it formed part of the colony of the Windward Islands, but in that year it was joined to Trinidad, its legal and fiscal arrangements, however, being kept distinct. Ten years later it became one of the wards of Trinidad, under a warden and magistrate; its revenue, expenditure and debt were merged into those of the united colony, and Trinidadian law, with very few exceptions, was made binding in Tobago.
# A Century of Dishonor/Cover

New York: Harper & Bros.
A CENTURY OF DISHONOR
A SKETCH
OF THE UNITED STATES GOVERNMENT'S DEALINGS WITH SOME OF THE INDIAN TRIBES
“When one of the Spartan kings pronounced that commonwealth happy which was bounded by the sword and spear, Pompey, correcting him, said: ‘Yea, rather that commonwealth is truly happy which is on every side bounded with justice’”
# A Dictionary of Music and Musicians/Vol 1/List of contributors

    Bedford Street, Covent Garden,
       April 1, 1879.
# A Dictionary of Music and Musicians/Voigt, Henriette

​VOIGT (pronounced Vogt), Henriette, née Kunze, born in 1809, a distinguished German amateur musician, and prominent figure in the musical life of Leipzig.
She was the pupil of L. Berger, and became a remarkable performer, and the warm friend of her teacher. Schumann was introduced to her by Ludwig Schunke, who almost lived in the Voigts' house before his early death, and their intimacy became very close. A characteristic story illustrating this is told in the article on Schumann in this Dictionary, vol. iii. p. 389 and we may here quote Schumann's own expression—'Ich dichte, wenn ich an Sie denke,' which may be rendered 'The thought of you inspires me.' He alludes to her occasionally in his 'Davidsbündler' articles under the name of 'Eleonore'; and his entry in her album was very characteristic, consisting only of a huge crescendo mark reaching across the whole page, with his name below it. This, on enquiry, he explained to predict the continual increase of their friendship. Mendelssohn's contribution to her album was the first sketch of the Gondellied in F♯ minor (op. 30, no. 6); and though there is no mention of her either in his collected Letters or in the 'Familie Mendelssohn,' there is ample testimony to his esteem for her talents and her person in his 'Eight Letters' to her, published in 1981. Hauptmann and C. Löwe have also left the most appreciative references to her ability and taste: indeed she was, with Madame Frege, at the head of the amateurs of Leipzig in that most brilliant time.
Her husband, Carl Voigt, to whom she was married in Nov. 1830, was a Leipzig merchant, and as great an enthusiast for music as herself. He died June 15, 1881, in his 76th year, leaving 300l. to the Gewandhaus Concerts for a performance of Beethoven's Ninth Symphony every year, or at the least every two years. A few words about that Symphony, attributed to him, will be found in Schumann's 'Ges. Schriften,' 1st ed. i. 27.
Madame Voigt died on Oct. 15, 1839, in her 31st year. Schumann gave a sketch of her in the 'Neue Zeitschrift für Musik' for the 15th of the following November, under the title of ​'Erinnerung an eine Freundin,' which is reprinted in his 'Ges. Schriften,' and contains some charming extracts from her journal, giving a high idea of the range of her knowledge and the depth of her sensibility.
[ G. ]
* ↑ See his letter of 1836, given by Schumann, N. Z. M. xi. 159.
* ↑ Acht Briefe und ein Facsimile, Ac. Leipzig, Grunow, 1871. Translated by M. E. von G. in Macmlllan's Magazine, No. 140.
* ↑ Letters to Hauser, No. 43.
# A Dictionary of Music and Musicians/Vol 1/Title page

A
DICTIONARY
OF
MUSIC AND MUSICIANS
(A.D. 1450–1889)
BY EMINENT WRITERS, ENGLISH AND FOREIGN.
WITH ILLUSTRATIONS AND WOODCUTS.
EDITED BY
SIR GEORGE GROVE, D.C.L.
SOMETIME DIRECTOR OF THE ROYAL COLLEGE OF MUSIC, LONDON.
WITH APPENDIX, EDITED BY
J. A. FULLER MAITLAND, M.A.
AND INDEX BY
MRS. EDMOND WODEHOUSE.
IN FOUR VOLUMES.
VOL. I.
London
MACMILLAN AND CO., Limited NEW YORK: THE MACMILLAN COMPANY
1900
[The Right of Translation and Reproduction is reserved.]
This Dictionary was originally published between the dates 1877 and 1889, and the Parts have since been reprinted from plates, with corrections as required.
OXFORD: HORACE HART, PRINTER TO THE UNIVERSITY
# A Dictionary of Music and Musicians/Vol 2

volume originally published 1881; this four volume edition published in 1900 with corriegenda and addenda in an appendix at the end of Volume Four. New articles from the appendix have been interpolated in the alphabetic sequence.

## Front Matter

* Title page
* List of contributors

## Articles

* Improperia to Joncières
* Jones to Knyvett
* Koch to Lauda Sion
* Laudi Spirituali to Lischen et Fritzchen
* Lisley, John to Maelzel
* Mässig to Matilda of Hungary
* Matins to Minuet
* Mireille to Müller, Wenzel
* Müller, Wilhelm to Ninth
* Nisard to Organ-Part
* Organists, College of to Part Music
* Part-Song to Pianette
* Piangendo to Plain Song
# A Dictionary of Music and Musicians/Vol 1

volume originally published 1879; this four volume edition published in 1900 with corriegenda and addenda in an appendix at the end of Volume Four. New articles from the appendix have been interpolated in the alphabetic sequence.

## Front Matter

* Title page
* Preface
* List of contributors

## Articles

* A to Air
* Airy to Andreoni
* Andreve to Attwood
* Aubade to Baritone
* Barker to Beethoven
* Beethoven to Bevington & Sons
* Bexfield to Boschetti
* Boschi to Buranello
* Burden to Carafa
* Cardarelli to Chapeau Chinois
* Chapelle to Claudine von Villabella
* Clauss to Conforti
* Conradi to Cox & Box
* Cramer & Co to Davies
* Davison to Doppio
* Dorian to Ein' Feste Burg
* Eisteddfod to Faranadole
* Farce to Flageolet
* Flamand-Grétry to Fundamental Bass
* Fux to Giusquino
* Giusto to Grétry
* Grieg to The Harmonious Blacksmith
* Harmonium to Hill
* Hiller to Impromptu
# A Dictionary of Music and Musicians/Voicing

​VOICING. A term used in organ-building to express the method of obtaining a particular quality of tone, in an organ pipe, and of regulating a series of pipes so that their tone shall be uniform throughout. The quality of the tone of Flue-pipes is mainly dependent on (1) their general shape, (2) their scale; but, after the pipe-maker has turned out a set of pipes of true proportion, the 'voicer' can produce a great variety of qualities by regulating (1) the quantity of wind admitted to the pipe, (2) the thickness of the 'sheet of wind,' (3) the angle at which it impinges on the upper lip, (4) by imparting a special surface to the edge of the lip itself or by cutting it higher; and in other ways. The voicing of Reed pipes is dependent chiefly on (1) the quantity of air admitted, (2) the shape and thickness of the tongue, (3) its position, (4) the relation between the length of tube and the pitch of the note produced.
[ J. S. ]
# A Dictionary of Music and Musicians/Voix Célestes

[ W. Pa. ]
# A Culture of Copyright

​Acknowledgements
A large number of people have supported this research and provided invaluable insight during queries, correspondence and interviews. Thank you especially to the interview participants for their time and intellectual generosity, as well as the peer reviewers Ronan Deazley, Douglas McCarthy, Mathilde Pavis, Tala Rahal and Simon Tanner. There are many others who have made contributions to this area over the past two decades, without which this (and other) research would not have been possible. Because of this, a huge thanks goes out to all persons working to digitise and publish collections and data online, especially the risk-takers in the UK and across the globe who have laid the important groundwork for open access and open GLAM.
About the author
Dr Andrea Wallace researches the impact of digital technologies on the preservation, interpretation and dissemination of cultural heritage and the obstacles and opportunities presented by the digital realm, with a particular focus on the legal issues surrounding copyright, cultural institutions and the public domain. She holds a PhD in Cultural Heritage Law from the University of Glasgow with the CREATE Centre in the Law School in partnership with the National Library of Scotland. Dr Wallace previously received an LLM in European Business Law from Radboud University in the Netherlands, a JD from DePaul University College of Law in Chicago, and a BFA from the School of the Art Institute of Chicago. She is a registered attorney with the Illinois State Bar in the United States.
Citation
Andrea Wallace, 'A Culture of Copyright: A scoping study on open access to digital cultural heritage collections in the UK' (Towards A National Collection, 2022), CC BY, [DOI]
Table of Contents
This work is released under the Creative Commons Attribution 4.0 International license, which allows free use, distribution, and creation of derivatives, so long as the license is unchanged and clearly noted, and the original author is attributed.
Public domainPublic domainfalsefalse
# A Culture of Copyright/Appendix 2

​Appendix 2. UK GLAM Policies on copyright and open access
List of institutions included:
* Aberdeen Archives, Art Gallery and Museums
* Ashmolean Museum, Oxford
* Atkinson Art Gallery
* Birmingham Museums Trust
* Bodleian Libraries
* Bradford Museums & Galleries
* British Library
* British Museum
* Captain Cook Birthplace Museum
* Courtauld
* Dundee Art Galleries and Museums
* East Riding Archives
* Fitzwilliam Museum
* Fleming Collection
* Glasgow Museums
* Government Art Collection
* Guernsey Museums & Galleries
* Heritage Collections UK Parliament
* Historic Royal Palaces
* Horniman Museum and Gardens
* Imperial War Museums
* Kirklees Image Archive
* Leeds Museums & Galleries
* Llyfrgell Genedlaethol Cymru (National Library of Wales)
* LSE Library: The British Library of Political and Economic Science
* Manchester Art Gallery
* Manchester Museum
* McLean Museum and Art Gallery
* Museum of Classical Archaeology
* Museum of London
* Museum of the Home (Geffrye Museum)
* Museums Sheffield
* National Archives
* National Galleries Scotland
* National Gallery
* National Library of Scotland
* National Museums Liverpool
* National Museums Northern Ireland
* National Portrait Gallery
* Oxford University Museum of Natural History
* Parliamentary Archives
* Petrie Museum of Egyptian Archaeology
* Pitt Rivers Museum
* Reading Museum & Town Hall
* Royal Academy of Art
* Royal Albert Memorial Museum
* Royal Armouries
* Royal Botanic Gardens, Kew
* Royal Museums Greenwich
* Royal Pavilion & Museums Trust, Brighton & Hove
* Science Museum Group
* Scottish Maritime Museum
* Sir John Soane’s Museum
* Tank Museum
* Tate
* Tyne & Wear Archives & Museums
* University of York
* Victoria & Albert Museum
* Wallace Collection
* York Museums Trust
* Bristol Museum & Gallery
* Museum of Archaeology and Anthropology
* ArtUK