OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Uralsk (town)

See also Oral, Kazakhstan on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​URALSK, a town of Asiatic Russia, the capital of the province of the same name, on the Ural river, 165 m. W.S.W. of Orenburg, and 270 m. by rail E. of Saratov. Pop. (1885) 26,055; (1901) 38,919. It is rapidly developing owing to its trade with the nomad Kirghiz in cattle, sheep and animal products, all of which are exported to Russia; it is also a centre for trade in grain. It has two cathedrals, founded, one in the 18th century, the other in 1837; a small museum, a school farm, a people’s palace, free libraries, and branches of the Russian Geographical and the Fisheries Societies.
# 1911 Encyclopædia Britannica/Yule

See also Yule on Wikipedia; Yule in the 9th Edition; and our 1911 Encyclopædia Britannica disclaimer.
​YULE, the season of Christmas (q.v.) . This word is chiefly used alone as an archaism or in poetry or poetical language, but is more common in combination, as in "yule-tide," "yule-log," &c. The Old English word appears in various forms, e.g . geola, vula, geol, gehhol, gehhel; cognate forms are Icel, jól; Dan. juul; Swed. jul. It was the name of two months of the year, December and January, the one the "former yule" (se aerra geola), the other the "after yule" (se aeftera geola), as coming before and after the winter solstice (Cotton MS. Tib. B. i.; and Bede, De Temporum Ratione, 13, quoted in Skeat, Etym. Dict., 1898). According to A. Fick (Vergleichendes Worterbuch der Indogerinanischen Sprachen, vol. iii. 245, 1874) in proper meaning is noise, clamour, the season being one of rejoicing at the turning of the year among Scandinavian peoples before Christian times.
# 1911 Encyclopædia Britannica/Yule, Sir Henry

See also Henry Yule on Wikipedia; Yule, Sir Henry in the 9th Edition; and our 1911 Encyclopædia Britannica disclaimer.
​YULE, SIR HENRY (1820-1889), British Orientalist, was born on the 1st of May 1820, at Inveresk, near Edinburgh, the son of Major William Yule (1764-1839), translator of the Apothegms of Ali. He was educated at Edinburgh, Addiscombe and Chatham, and joined the Bengal Engineers in 1840. He served in both the Sikh wars, was secretary to Colonel (afterwards Sir) Arthur Phayre's mission to Ava (1855), and wrote his Narrative of the Mission to the Court of Ava (1858). He retired in 1862 with the rank of colonel, and devoted his leisure to the medieval history and geography of Central Asia. He published Cathay and the Way Thither (1866), the Book of Ser Marco Polo 1871-75), for which he received the gold medal of the Royal Geographical Society, and brought out with Dr Arthur C. Burnell Hobson-Jobson (1886), a dictionary of Anglo-Indian colloquial phrases. For the Hakluyt Society, of which he was for some time president, he edited (1863) the Mirabilia descripta of Jordanus and The Diary of William Hedges (1887-89). The latter contains a biography of Governor Pitt, grandfather of Chatham. From 1875 to 1889 Yule was a member of the Council of India, being appointed K.C.S.I. on his retirement. He died on the 30th of December 1889.
See Memoir by his daughter, prefixed to the posthumous third edition of Marco Polo (1903).
# 1911 Encyclopædia Britannica/Yun-nan Fu

See also Kunming on Wikipedia; Yun-nan Fu in the 9th Edition; and our 1911 Encyclopædia Britannica disclaimer.
​YUN-NAN FU, the capital of the province of Yun-nan, China, in 25° 6′ N., 102° 52′ E. It is about 500 m. by rail N.N.W. of the port of Haiphong, Tongking. The population was returned in 1907 at 45,000. Originally the surrounding district was known as the “land of the southern barbarians.” The city is situated on a plain, and is surrounded by fortified walls, 6½ m. in circuit. For many years Mahommedans have been numerous in the city and neighbourhood; and in 1855 a Mahommedan rising occurred. Before the rebellion Yun-nan Fu had a prosperous aspect; the shops were large and well supplied with native silken goods, saddlery, &c., while English cotton, Russian cloths and raw cotton from Burma constituted the main foreign merchandise. Employment for large numbers of work-people was found in the copper factories. A mint at Yun-nan Fu issued annually 101,000,000 cash. Nearly ruined by the rebellion, the city took many years to recover its prosperity. A fresh impetus to commerce was given by the opening in 1910 of the railway from Tongking, a line built by French engineers and with French capital. The construction of a British railway to connect Burma with Yun-nan Fu and onwards to the Yangtsze-kiang has been in contemplation.
# 1911 Encyclopædia Britannica/Yucca

See also Yucca on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​YUCCA, a genus of the order Liliaceae (q.v.), containing about thirty species. They occur in greatest frequency in Mexico and the S.W. United States, extending also into Central America, and occurring in such numbers in some places as to form straggling ​forests. They have a woody or fibrous stem, sometimes short, and in other cases attaining a height of 15 to 20ft., and branching at the top into a series of forks. The leaves are crowded in tufts at the ends of the stem or branches, and are generally stiff and sword-shaped, with a sharp point, sometimes flaccid and in other cases fibrous at the edges. The numerous flowers are usually while, bell-shaped and pendulous, and are borne in much-branched terminal panicles. Each flower has a perianth of six regular pieces, and has as many hypogynous stamens, with dilated filaments, bearing relatively small anthers. The three celled ovary is surmounted by a short thick style, dividing above into three stigmas, and ripens into a succulent berry in some of the species, and into a dry three-valved capsule in others. The flowers are fertilized by the agency of moths.
A coarse fibre is obtained by the Mexicans from the stem and foliage, which they utilize for cordage, and in the S.E. United States the leaves of some species, under the name “bear-grass,” are used for seating chairs, &c. The fruits, which resemble small bananas, are cooked as an article of diet; and the roots contain a saponaceous matter used in place of soap.
Many of the species are hardy in Great Britain, and their striking appearance renders them attractive in gardens even when not in flower. They thrive in a rich, light soil, and are propagated by divisions planted in the open ground, or by pieces of the thick, fleshy roots in sandy soil under heat. Their rigid foliage, invested by thick epidermis, enables them to resist the noxious air of towns better than most plants. A popular name for the plant is “Adam's needle.” The species which split up at the margins of their leaves into filaments are called “Eve's thread.”
* Yucca gloriosa in flower, much reduced. 1, flower, abt. ½ nat. size;
* 2, diagram showing arrangement of the parts of the flower in
* horizontal plan.
# 1911 Encyclopædia Britannica/Yttrium

See also Yttrium on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​YTTRIUM [symbol, Y; atomic weight, 89.0 (O = 16)], a metallic chemical clement. In its character yttrium is closely allied to, and in nature is always associated with, cerium, lanthanum, didymium and erbium (see Rare Earths). For the preparation of yttrium compounds the best raw material is gadolinite, which, according to König, consists of 22.61% of silica, 34.64 of yttria, Y$_2$O$_3$, and 42.75 of the oxides of erbium, cerium, didymium, lanthanum, iron, beryllium, calcium, magnesium and sodium. The extraction (as is the case with all the rare earths) is a matter of great difficulty. Metallic yttrium is obtainable as a dark grey powder by reducing the chloride with potassium, or by electrolysing the double chloride of yttrium and sodium. It decomposes water slowly in the cold, and more rapidly on heating. Yttria, Y$_2$O$_3$, is a yellowish white powder, which at high temperatures radiates out a most brilliant while light. It is soluble, slowly but completely, in mineral acids. It is recognized by its very characteristic spark spectrum. Solutions of yttria salts in their behaviour to reagents are not unlike those of zirconia. The atomic weight was determined by Cleve.
# A Dictionary of Music and Musicians/Shaw, Mary

[ W. H. H. ]
# A Dictionary of Music and Musicians/Sherrington, Jose

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

​SHAWM or SHALM (Germ. Schalmey or Chalmei; Fr. Chalumeau).
The name of this ancient instrument is variously derived from the Latin Calamus, Calamellus, 'a reed,' or from the German schallen, 'to sound.' The σῦριγξ of the Greeks, supposed by Bernsdorff and others to be identical with it, is shown by Mr. Chappell to have been the Pandean pipe. Under the names of Pommer and Bombard smaller and larger forms were known in Germany; the latter, also called the Brummer, developing into the Bassoon. [See Bassoon.] It was clearly a reed instrument like the shepherd's pipe, although Mr. Chappell thinks it more closely allied to the modern clarinet. The older dictionaries define it as 'a hautboy or cornet,' and it is so frequently associated with the bagpipe that there must evidently have been some affinity between the two instruments. For instance, we find in Clement Marot, i. 166,
Faisoit sonnor Chalumeaux et Cornemuses;
and again, Drayton, 'Polyolbion,' iv.
Even from the shrillest Shawme unto the Cornamute.
This combination of the pastoral oboe with the bagpipe may be daily seen in the streets. [See Pifferaro.]
Another similarity between the shawm and the bagpipe, as also between it and the musette, is noted by Schladebach in describing the Schalmey or Schalmei. He states that it is still played under this name by the peasants of the Tyrol and of Switzerland, and that the reed, instead of being inserted directly into the player's lips, is fitted into a box or 'capsule' with a mouthpiece, ​wherein it vibrates unconstrained. This is exactly the device still retained in the bagpipe, and nowhere else. It possesses, according to the same writer, six holes for the three middle fingers of either hand, with a single hole covered by means of a key for the right little finger. This would give the scale of the musette or shepherd's pipe.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Shepherd's Pipe

​SHEPHERD'S PIPE. A name given to the pastoral oboe or musette. It was an instrument with a double reed like that of the bagpipe chaunter; and seems occasionally to have been combined with a windbag as in the latter instrument. It was made in several sizes, constituting a family or 'consort' similar to the viols, recorders, and other instruments. Its origin in the simple reed is well given in Chappell's 'History of Music,' vol. i. p. 259.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Sheppard, John

​SHEPPARD, or SHEPHERD, John, Mus. Bac., born in the early part of the 16th century, was a chorister of St. Paul's under Thomas Mulliner. In 1542 he was appointed Instructor of the choristers and organist of Magdalen College, Oxford, which office he resigned in 1543, was reappointed to it in 1545, and held it until 1547. He was a Fellow of the College from 1549 to 1551. On April 21, 1554, having then been a student in music for 20 years, he supplicated for the degree of Mus. Doc., but it does not appear whether he obtained it. John Day's 'Morning and Evening Prayer,' etc., 1560, contains two Anthems, à 4, by him—'I give you a new commandment,' and 'Submit yourselves.' The former is reprinted in the 'Parish Choir.' Another book of Day's, the 'Whole Psalms in foure parts,' 1563, has a 'Prayer' by him, 'O Lord of hostes.' Hawkins prints a motet in 3 parts by him 'Steven first after Christ for Gods worde his blood spent,' and a melodious little 'Poynte'—a fugal piece for 4 voices of 7 bars length. Burney (ii. 565) complains that the motet is not a good specimen, and prints another, 'Esurientes,' for 5 voices from the Christ Church MSS., on which he pronounces Shepherd to have been superior to any composer of the reign of Henry VIII. Much of his church music is preserved in the Music School, Oxford; an Anthem and 39 Latin Motets and a Pavin and Galliard for the lute are among the MSS. at Christ Church, Oxford. In the British Museum (Add. MSS. 15166, 29289, 30480) are treble parts of many of his English compositions, amongst them 2 M. and E. Services with Creed; 2 Te Deums and Magnificats, 2 Creeds, and 7 Anthems. The Add. MSS. 4900, 29246, contain 4 pieces with lute accompaniment, and Add. MSS. 17802–5 has no less than 4 Masses—'The western wynde,' 'The French Masse,' 'Be not afraide,' and 'Playn song Mass for a Mene'; 4 Alleluias, and 10 Latin Motets, all for 4 voices complete. The library of the Sacred Harmonic Society (no. 1737) possesses 4 Latin motets, and (no. 1642) a 'First Service' by him. Morley in his 'Introduction' includes him amongst 'famous Englishmen.' The date of his death is unknown. [Schools of Comp. iii. 271.]
[ W. H. H. ]
# A Dictionary of Music and Musicians/Shakespeare, William

​SHAKESPEARE, William, composer, vocalist, pianist, born at Croydon June 16, 1849. At the age of 13 he was appointed organist at the church where formerly he had attracted attention in the choir. In 1862 he commenced a three years course of study of harmony and counterpoint under Molique; but after that master's death, having in 1866 gained the King's Scholarship at the Royal Academy of Music, continued his studies there for five years under Sir W. Sterndale Bennett. Whilst at the Royal Academy he produced and performed at the students' concerts a pianoforte sonata, a pianoforte trio, a capricio for pianoforte and orchestra, and a pianoforte concerto; and attracted some notice as a solo-player.
He was elected Mendelssohn Scholar in 1871, for composition and pianoforte-playing, and in accordance with the wish of the Committee entered the Conservatorium at Leipzig. There, whilst under the instruction of the director, Carl Reinecke, he produced and conducted in the Gewandhaus a symphony in C minor. Having discovered himself to be the possessor of a tenor voice, he was sent by the Mendelssohn Scholarship Committee to study singing with Lamperti at Milan, and there remained for two and a half years. But though singing was his chief pursuit he did not neglect composition, and while in Italy wrote two overtures, two string quartets, and other works.
In 1875 he returned to England, and entered upon the career of a concert and oratorio singer. He was appointed in 1878 Professor of Singing, and in 1880 conductor of the concerts, at theRoyal Academy of Music.
​His voice, though both sweet and sympathetic in quality, is somewhat deficient in power; and his success as a singer must therefore be attributed to the purity of his vocal production and to his complete mastery of all styles of music.
[ J. C. G. ]
# A Dictionary of Music and Musicians/Sharp

​SHARP (Diesis, from Lat. Divisio; Fr. Dièse). The term which expresses the raising of a note by a less quantity than a whole tone. F sharp is half a tone higher than F natural: a singer 'sang sharp'—that is, sang slightly higher than the accompaniment; 'the pitch was sharpened'—that is, was slightly raised.
The sign for a sharp in practical music is ♯; for a double sharp, two half tones, ×. In French the same signs are used, but the raised note is entitled dièse—Fa dièse, Ré dièse, etc.; in German Fis, Dis, etc., just as E♭, G♭ are designated Es, Ges, and so on.
The sign is said to have originated in the fact that in the 15th and 16th centuries the tone was divided into five intervals, which were designated by ×, ♯, , (Music characters), according to the number of parts represented by each. These gradually fell into disuse, and the second alone remained. In the printed music of the 17th century however the sign is usually .
[ G. ]
# A Dictionary of Music and Musicians/Sherrington, Mme. Lemmens-

​SHERRINGTON, Mme. Lemmens-. [See Lemmens, vol. ii. p. 120.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wingate (R )

​WINGATE (R), bookseller(?) in London; Golden Hind, Chancery Lane, 1655. Associated with Twyford, Brookes, and J. Place in the publication of a work entitled The Complete Clark and Scrivenors Guide, 1655. It is doubtful whether he was a bookseller, and not rather the compiler of the work.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilson (Andro)

​WILSON (ANDRO), bookseller in Edinburgh, (1) Near the Ladies Steps, 1641; (2) At the Plain Stones over against the Stone Shop at the signe of the Great Book, 1649; (3) At the sign of the Bible, 1649 (1641-54. [H. G. Aldis, List of Books, p. 124.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilson (Henry)

​WILSON (HENRY), bookseller (?) in London, 1642. His name is found on the imprint to a political pamphlet entitled The Virgins Complaint [Jan. 31], 1642. [See Hazlitt, i. 440.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilson (Robert)

​WILSON (ROBERT), bookseller in London; Black Spread Eagle and Windmill, St. Martins le Grand, near Aldersgate, 1660 (?)-62 (?). A dealer in Quaker literature. In a letter to Richard Snead, mercer, of Bristol, written in 1661, he says: "I am exposed in this day through many and frequent sufferings to severall difficulties: for very often am I plundered by y$^e$ rulers of my goods; burning them at home and abroad." [Domestic State Papers, Charles II, vol. 56, 83.] The same year he was committed to the Gatehouse for selling "seditious pamphlets against the Government of the Church of England A list of books seized at his shop in that year was published in Mercurius Publicus on November 28th.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilts (J.)

​WILTS (J.), bookseller (?) in London (?), 1660. His name appears on the imprint to the following pamphlet: Two Grand Traytor's Lamentation, 1660. [E. 1040 (15).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Winnain (G)

​WINNAIN (G), bookseller (?) in (?) London, 1663. This name occurs on a pamphlet entitled, Articles and charge against the German lady prisoner in the Gatehouse, to be exhibited according to the records of the City of Canterbury … London, Printed for G. Winnain, 1663. [Hazlitt, iii. 30.] It may possibly be that of a Canterbury bookseller.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilmot (John)

​WILMOT (JOHN), bookseller in Oxford, 1657-65. [Madan, Chart of Oxford Printing, pp. 29, 31.] His name is found on the imprint to Adrian Heereboord's Philosophia naturalis, 1665. [Ames Collection, 3237.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilson (Patrick)

​WILSON (PATRICK), bookseller at Edinburgh, 1643. Issued a broadside entitled A merrie Ballad, called Christio Kirk on the Green [25 Nov.], 1643. [669, f. 8, 38.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilson (William)

​WILSON (WILLIAM), printer in London (?); Three Foxes in Long Lane, 1640-65. Took up his freedom September 4th, 1626. [Arber, iii. 686.; see also Harl. MSS., 5919 (281).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wilson (Thomas)

​WILSON (THOMAS), printer in London; Three Foxes in Long Lane [Smithfield], 1653-7. Joint printer with John Crouch, of the news-sheet called Mercurius Democritus. Their printing house was situated in one of the lowest parts of the City of London, and they were largely employed in printing ballads, broadsides, chap books, and such ephemeral literature.
# A Dictionary of Music and Musicians/Zaide

​ZAIDE, Operetta in two acts; text by Schachtner, probably from the French; music by Mozart, 1779 or 1780. It does not appear to have been ever produced. Mendelssohn produced a Quartet from it in a Historical Concert, March 1, 1838.
[ G. ]
# A Dictionary of Music and Musicians/Zandt, Marie van

[ A. C. ]
# A Dictionary of Music and Musicians/Zapfenstreich

​ZAPFENSTREICH. The German word Zapfenstreich is said to owe its origin to General Wallenstein, who during the Thirty Years War in Germany found his unruly troopers so fond of nightly revels and drinking, that to prevent it he introduced the tattoo, or 'last call,' after which every soldier had to retire to rest. To insure obedience to this call, he ordered that when it was sounded the provost of the camp should go to all the sutlers' booths, and see that the barrels of drink were closed and a chalk-line drawn over the bung, as a precaution against serving drink during the night. Heavy penalties were enforced against the sutlers, if on the morning's inspection the chalk line was found to have been meddled with overnight. This act of 'sealing the bungs' appealed more forcibly to the senses of the revellers than the tattoo which accompanied it, and led to the signal being called Zapfenstreich literally 'bung-line,' which it has retained in that country ever since. [See Tattoo, vol. iv. p. 63.]
The 'Grosse Zapfenstreich' (grand tattoo) of modern times, is in reality a monster serenade, which usually terminates the grand annual manœuvres of the German army. On the last evening before the troops are dismissed to their homes, the bands of all the regiments who have taken part in the mimic war, combine, forming a monster mass of from 1000 to 1400 instrumentalists, who perform by torchlight, in presence of the Emperor and numerous high officials assembled, a suitable programme, immediately followed by the proper Zapfenstreich, in which, besides the band, all buglers, trumpeters and drummers of the army take part. After an introductory eight bars for fifes and drums, a few drummers commence a roll very piano, gradually increasing in power; this crescendo is augmented by all the drummers to the number of over 300 rapidly joining in until a thunderous forte is reached, when they break into four bars of simple beats in march-tempo, followed by the combined bands playing the proper Zapfenstreich (an ancient Quickstep).
When this is finished, the 'Retraite' of the combined cavalry bands is played, consisting of the old trumpet calls, interspersed with rolls of kettledrums .and full chords of brass instruments. A short 'call' by fifes and drums is then followed by the 'Prayer,' a slow movement executed by all the combined bands—
Then a roll for the drums,—the trumpet signal 'Gewehr ein!'—and finally two bars of long chords bring the whole to a conclusion:—
[ J.A.K. ]
# A Dictionary of Music and Musicians/Zampa

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

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

[ G. ]
# A Dictionary of Music and Musicians/Zambona, Stephano

[ G. ]
# A Chinese Biographical Dictionary/K'ung Chi-han

​1042 K'ung Chi-han 孔繼涵 (T. 葒谷). 18th cent A. D. Uncle of K'ung Kuang-sên, and an authority on the Book of Rites.