OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Upright Grand Piano

​UPRIGHT GRAND PIANO. A transposition of the ordinary long grand piano to a vertical position, so that it might stand against a wall. The upright piano was derived from the upright harpsichord, and like it, its introduction was nearly contemporaneous with the horizontal instrument. The upright harpsichord (Fr. Clavecin Vertical) is figured in Virdung's 'Musica getutscht,' etc., a.d. 1511, as the Claviciterium,' but, like all Virdung's woodcuts of keyboard instruments, is reversed, the treble being at the wrong end. He does not figure or describe the Arpichordium, but we know that the long horizontal instrument was in use at that time, and constructive features are in favour of its priority. Upright harpsichords are now rarely to be met with. One decorated with paintings was shown in the special Loan Exhibition of ancient Musical Instruments at South Kensington in 1872, contributed by M. Laconi of Paris. Another, in a fine Renaissance outer case, was seen in 1883 at Christie's, on the occasion of the Duke of Hamilton's sale. The museums of the Conservatoire at Brussels, and of Signor Kraus, Florence, contain specimens. There is also an upright grand piano at Brussels, the oldest yet met with. It was made by Frederici of Gera, in Saxony, in 1745. This was the very time when Silbermann was successfully reproducing the Florentine Cristofori's pianofortes at Dresden, which were horizontal grand pianos. [See Pianoforte; Cristofori; and Silbermann.] Frederici, however, made no use of Cristofori's action. Neither did he avail himself of a model of Schroeter's, said to be at that time known in Saxony. M. Victor Mahillon, who discovered the Frederici instrument and transferred it to the Museum he so ably directs, derives the action from the German striking clocks, and with good reasons. Frederici is also credited with the invention of the square piano, an adaptation of the clavichord.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Urhan, Chrétien

​URHAN, Chrétien, born Feb. 16, 1790, at Montjoie, near Aix-la-Chapelle, was the son of a violinist. He early showed great taste for music, and while still untaught began to compose for his two favourite instruments, the violin and piano. The Empress Josephine happening to hear him at Aix-la-Chapelle, was so struck with his precocious talent that she brought him to Paris, and specially recommended him to Lesueur. The composer of 'Les Bardes' was then at the height of his popularity both with the public and the Court, and his countenance was of as much service to Urhan as his lessons in composition. Urhau entered the orchestra of the ​Opéra in 1816, was promoted first to a place among the first violins, and finally, on Baillot's retirement (1831), to that of first violin-solo. As a concert-player he made his mark as one of the foremost violinists of the day with Mayseder's brilliant compositions, which he was the first to introduce in Paris. He was frequently heard at the Concerts du Conservatoire, of which he was one of the originators, and where his performances on the viola and the viol d'amour excited great attention. He also contributed to the success of the memorable evenings for chamber-music founded by Baillot, and of Fétis's Concerts historiques. Urhan had studied all instruments played with the bow, and could play the violin with four strings, the five- and four-stringed viola, and the viol d'amour, in each case preserving the characteristic quality of tone. He had a particular method of tuning, by which he produced varied and striking effects of tone. Charmed with his talent and originality, and anxious to turn to account his power of bowing and knowledge of effect, Meyerbeer wrote for him the famous viol d'amour solo in the accompaniment to the tenor air in the 1st act of the 'Huguenots.'
[ G. C. ]
# A Dictionary of Music and Musicians/Upham, Baxter

[ F. H. J. ]
# A Course in Miracles/Text/Introduction

This is a course in miracles. It is a required course. Only the time you take it is voluntary. Free will does not mean that you can establish the curriculum. It means only that you can elect what you want to take at a given time. The course does not aim at teaching the meaning of love, for that is beyond what can be taught. It does aim, however, at removing the blocks to the awareness of love's presence, which is your natural inheritance. The opposite of love is fear, but what is all-encompassing can have no opposite.
This course can therefore be summed up very simply in this way:
   Nothing real can be threatened. Nothing unreal exists.
Herein lies the peace of God
# A Course in Miracles/Workbook for Students/A meaningless world engenders fear

A meaningless world engenders fear.
Today's idea is really another form of the preceding one, except that it is more specific as to the emotion aroused. Actually, a meaningless world is impossible. Nothing without meaning exists. However, it does not follow that you will not think you perceive something that has no meaning. On the contrary, you will be particularly likely to think you do perceive it.
Recognition of meaninglessness arouses intense anxiety in all the separated ones. It represents a situation in which God and the ego "challenge" each other as to whose meaning is to be written in the empty space that meaninglessness provides. The ego rushes in frantically to establish its own ideas there, fearful that the void may otherwise be used to demonstrate its own impotence and unreality. And on this alone it is correct.
It is essential, therefore, that you learn to recognize the meaningless, and accept it without fear. If you are fearful, it is certain that you will endow the world with attributes that it does not possess, and crowd it with images that do not exist. To the ego illusions are safety devices, as they must also be to you who equate yourself with the ego.
The exercises for today, which should be done about three or four times for not more than a minute or so at most each time, are to be practiced in a somewhat different way from the preceding ones. With eyes closed, repeat today's idea to yourself. Then open your eyes, and look about you slowly, saying:
    I am looking at a meaningless world.
Repeat this statement to yourself as you look about. Then close your eyes, and conclude with:
    A meaningless world engenders fear
    because I think I am in competition with God.
You may find it difficult to avoid resistance, in one form or another, to this concluding statement. Whatever form such resistance may take, remind yourself that you are really afraid of such a thought because of the "vengeance" of the "enemy." You are not expected to believe the statement at this point, and will probably dismiss it as preposterous. Note carefully, however, any signs of overt or covert fear which it may arouse.
This is our first attempt at stating an explicit cause and effect relationship of a kind which you are very inexperienced in recognizing. Do not dwell on the concluding statement, and try not even to think of it except during the practice periods. That will suffice at present.
# A Course in Miracles/Workbook for Students/A happy outcome to all things is sure

A happy outcome to all things is sure.
God's promises make no exceptions. And He guarantees that only joy can be the final outcome found for everything. Yet it is up to us when this is reached; how long we let an alien will appear to be opposing His. And while we think this will is real, we will not find the end He has appointed as the outcome of all problems we perceive, all trials we see, and every situation that we meet. Yet is the ending certain. For God's Will is done in earth and Heaven. We will seek and we will find according to His Will, which guarantees that our will is done.
We thank You, Father, for Your guarantee of only happy outcomes in the end. Help us not interfere, and so delay the happy endings You have promised us for every problem that we can perceive; for every trial we think we still must meet.
# A Course in Miracles/Workbook for Students/Above all else I want to see

Above all else I want to see.
Today's idea expresses something stronger than mere determination. It gives vision priority among your desires. You may feel hesitant about using the idea, on the grounds that you are not sure you really mean it. This does not matter. The purpose of today's exercises is to bring the time when the idea will be wholly true a little nearer.
There may be a great temptation to believe that some sort of sacrifice is being asked of you when you say you want to see above all else. If you become uneasy about the lack of reservation involved, add:
    Vision has no cost to anyone.
If fear of loss still persists, add further:
    It can only bless.
The idea for today needs many repetitions for maximum benefit. It should be used at least every half hour, and more if possible. You might try for every fifteen or twenty minutes. It is recommended that you set a definite time interval for using the idea when you wake or shortly afterwards, and attempt to adhere to it throughout the day. It will not be difficult to do this, even if you are engaged in conversation, or otherwise occupied at the time. You can still repeat one short sentence to yourself without disturbing anything.
The real question is, how often will you remember? How much do you want today's idea to be true? Answer one of these questions, and you have answered the other. You will probably miss several applications, and perhaps quite a number. Do not be disturbed by this, but do try to keep on your schedule from then on. If only once during the day you feel that you were perfectly sincere while you were repeating today's idea, you can be sure that you have saved yourself many years of effort.
# A Course in Miracles/Workbook for Students/Above all else I want to see things differently

Above all else I want to see things differently.
Today we are really giving specific application to the idea for yesterday. In these practice periods, you will be making a series of definite commitments. The question of whether you will keep them in the future is not our concern here. If you are willing at least to make them now, you have started on the way to keeping them. And we are still at the beginning.
You may wonder why it is important to say, for example, "Above all else I want to see this table differently." In itself it is not important at all. Yet what is by itself? And what does "in itself" mean? You see a lot of separate things about you, which really means you are not seeing at all. You either see or not. When you have seen one thing differently, you will see all things differently. The light you will see in any one of them is the same light you will see in them all.
When you say, "Above all else I want to see this table differently," you are making a commitment to withdraw your preconceived ideas about the table, and open your mind to what it is, and what it is for. You are not defining it in past terms. You are asking what it is, rather than telling it what it is. You are not binding its meaning to your tiny experience of tables, nor are you limiting its purpose to your little personal thoughts.
You will not question what you have already defined. And the purpose of these exercises is to ask questions and receive the answers. In saying, "Above all else I want to see this table differently," you are committing yourself to seeing. It is not an exclusive commitment. It is a commitment that applies to the table just as much as to anything else, neither more nor less.
You could, in fact, gain vision from just that table, if you would withdraw all your own ideas from it, and look upon it with a completely open mind. It has something to show you; something beautiful and clean and of infinite value, full of happiness and hope. Hidden under all your ideas about it is its real purpose, the purpose it shares with all the universe.
In using the table as a subject for applying the idea for today, you are therefore really asking to see the purpose of the universe. You will be making this same request of each subject that you use in the practice periods. And you are making a commitment to each of them to let its purpose be revealed to you, instead of placing your own judgment upon it.
We will have six two-minute practice periods today, in which the idea for the day is stated first, and then applied to whatever you see about you. Not only should the subjects be chosen randomly, but each one should be accorded equal sincerity as today's idea is applied to it, in an attempt to acknowledge the equal value of them all in their contribution to your seeing.
As usual, the applications should include the name of the subject your eyes happen to light on, and you should rest your eyes on it while saying:
    Above all else I want to see this ______ differently.
Each application should be made quite slowly, and as thoughtfully as possible. There is no hurry.
# A Dictionary of Music and Musicians/Volumier, Jean Baptiste

[ G. ]
* ↑ The name is said to have originally Woulmyer.
* ↑ Mendel.
# A Dictionary of Music and Musicians/Vowles, W. G.

[ V. de P. ]
# A Dictionary of Music and Musicians/Vox Humana

[ W. Pa. ]
# A Dictionary of Music and Musicians/Voluntary

[ W. Pa. ]
# A Dictionary of Music and Musicians/Vorausnahme

​VORAUSNAHME. See Anticipation.
# A Dictionary of Music and Musicians/Vorschlag

​VORSCHLAG (Ger.), an ornament made at the commencement of a note, and therefore the opposite of the Nachschlag, which is placed at the end. It usually consists of a note one degree above or below the principal note, as the note which it embellishes is called (Ex. 1), though it may be more distant from it (Ex. 2), and it may also consist of more than one note (Ex. 3), in which case it has a special name. [Slide, Double Appoggiatura].
The Vorschlag is written as a small note or notes, and is not accounted for in the time of the bar. In order to make room for it, the principal note is slightly curtailed and its entrance delayed, as is shown in the above examples. This ​is in accordance with a rule which is insisted upon by all the best authorities, at least so far as regards the works of great masters, namely, that all graces must fall within the value of their principal note. Türk (Clavierschule) mentions with disapproval the custom of playing it before the beat, and therefore within the time of the preceding note, which method of rendering he describes as 'in the French style,' though it does not appear to have been universal among French musicians, for Boyvin, an eminent French organist, in his 'Premier Livre d'Orgue' (1700), explicitly directs that the Vorschlag shall be struck exactly with the bass.
The Vorschlag in its ordinary form, consisting of a single note one degree above or below the principal note, is of two kinds, long and short. The long Vorschlag, generally known by its Italian name of Appoggiatura, has a definite proportional value, which varies with the length of the principal note, being one-half of a simple note (Ex. 4), two-thirds of a dotted note (Ex. 5), or the whole value of the principal note whenever the latter is tied to another of the same name (Ex. 6). The written length of the Vorschlag, as may be seen from the examples, bears no exact relation to its actual length in performance, though it is customary in the case of the Vorschlag to a simple note to write it of its precise value, as in Ex. 4.
[ F. T. ]
# A Dictionary of Music and Musicians/Vorspiel

[ G. ]
# A Dictionary of Music and Musicians/Vopelius, Gottfried

[ R. M. ]
# A Dictionary of Music and Musicians/Vorhalt

​VORHALT. See Suspension.
# A Dictionary of Music and Musicians/Voss, Charles

​VOSS, Charles. See vol. ii. p. 731b, and add date of death, Aug. 29, 1882.
# A Handful of Pleasant Delights/The Louer compareth him self to the painful Falconer

The Louer compareth him self to the painful Falconer. To the tune, I loued her ouer wel.
He soaring hawk from fist that flies, her Falconer doth constraine: Sometime to range the ground vnknown, to find her out againe: And if by sight or sound of bell, his falcon he may see: Wo ho he cries, with cheerful voice, the gladdest man is he.
​¶By Lure then in finest sort, he seekes to bring her in: But if that she, ful gorged be, he can not so her win: Although her becks and bending eies, she manie proffers makes: Wo ho ho he cries, awaie she flies, and so her leaue she takes.
¶This wofull man with wearie limmes, runnes wandring round about: At length by noise of chattering Pies, his hawke againe found out His heart was glad his eies had seen, his falcon swift of flight: Wo ho ho he cries, she emptie gorgde, vpon his Lure doth light.
¶How glad was then the falconer there, no pen nor tongue can tel: He swam in blisse that lately felt like paines of cruel hel. His hand somtime vpon her train, somtime vpon her brest: Wo ho ho he cries with chearfull voice, his heart was now at rest.
¶My deer likewise, beholde thy loue, what paines he doth indure: And now at length let pitie moue, to stoup vnto his Lure. A hood of silk, and siluer belles, new gifts I promise thee: Wo ho ho, I crie, I come then saie, make me as glad as hee.
FINIS.
# A Handful of Pleasant Delights/The Louer complaineth the losse of his Ladie

The Louer complaineth the losse of his Ladie
To Cecilia Pauin.
Eart, what makes thee thus to be,
in extreame heauinesse?
If care do cause all thy distresse,
Why seekest thou not some redresse,
to ease thy carefulnesse?
Hath Cupid stroke in Venerie,
Thy wofull corps in ieoperdie:
right wel then may I sob and crie,
Til that my Mistresse deer, my faith may trie
Why would I cloake from her presence,
My loue and faithfull diligence?
And cowardly thus to die.
And cowardly thus to die.
¶'No no, I wil shew my woe,
in this calamitie.
To her whom Nature shapte so free:
With all Dianaes chastitie,
or Venus rare beautie:
Then shall I brace felicitie,
And liue in all prosperitie. ​then leaue off this woe, let teares go,
thou shalt embrace thy Ladie deer with ioy.
In these thy armes so louingly,
As Paris did faire Helenie.
By force of blinded boy.
By force of blinded boy.
¶If Venus would grant vnto me,
such happinesse:
As she did vnto Troylus,
By help of his friend Pandarus,
To Cressids loue who worse,
Than all the women certainly:
That euer liued naturally.
Whose slight falsed faith, the storie saith,
Did breed by plagues, her great and sore distresse,
For she became so leprosie,
That she did die in penurie:
Because she did transgresse.
Because she did transgresse.
¶If she, I saie, wil me regard,
in this my ieoperdie,
I wil shew her fidelitie,
And eke declare her curtesie,
to Louers far and nie:
O heart how happie shouldst thou be,
When my Ladie doth smile on me:
Whose milde merie cheare,
Wel driue away feare,
Cleane from my brest, and set ioy in ye place
when I shall kisse so tenderly:
Her fingers small and slenderly,
which doth my heart solace, &c.
[¶]Therefore ye amorous imps who burne
so stil in Cupids fire,
Let this the force of my retire
Example be to your desire,
That so to loue aspire:
For I did make deniance,
And set her at defiance: ​Which made me full wo, it chanced so,
Because I look at my mistresse so coy:
Therefore, when she is merily
Disposed, look you curteously:
Receiue her for your ioy.
Receiue her for your ioy.
Finis.
I. Tomson.
# A Handful of Pleasant Delights/The Tunes

THE TUNES.
DANCE TUNES.
TUNES CHIEFLY NAMED FROM OLDER BALLADS.
In the Stationers' Registers, the first Edition of this Handful, &c., is registered at i. 363.
The Register between 1571–1576 has long been lost. So that the originally Third Register is Volume ii. of the Transcript. The pages of the references to the various tunes in the Transcript will show their relation in time to the first edition of the Handful, &c.
# A Handful of Pleasant Delights/The Louer compareth some subtile Suters to the Hunter

The Louer compareth some subtile Suters to the Hunter. To the tune of the Painter.
Hen as the Hunter goeth out,
with hounds in brace.
The Hart to hunt, and set about,
with wilie trace,
He doth it more to see and view,
Her wilinesse (I tell you true.)
Her trips and skips, now here, now there,
With squats and flats, which hath no pere.
¶More than to win or get the game
to beare away:
He is not greedie of the same,
(thus Hunters saie:
So some men hunt by hote desire,
To Venus Dames, and do require
With fauor to haue her, or els they wil die,
they loue her, and prooue her, and wot ye why?
¶Forsooth to see her subtilnesse, and wily way.
When they (God knows) mean nothing lesse
than they do say:
For when they see they may her win,
They leaue then where they did begin.
they prate and make the matter nice,
And leaue her in fooles paradice.
​¶Wherefore of such (good Ladie now)
wisely beware,
Least flinging fancies in their brow,
do breed you care:
And at the first giue them the checke,
Least they at last giue you the geck,
And scornfully disdaine ye then,
In faith there are such kind of men.
¶But I am none of those indeed,
beleeue me now:
I am your man if you me need,
I make a vow:
To serue you without doublenesse:
With feruent heart my owne mistresse,
Demaund me, commaund me,
what please ye, and whan,
I wil be stil readie, as I am true man.
# A Handful of Pleasant Delights/The complaint of a woman Louer

The complaint of a woman Louer,
To the tune of. Raging loue.
Hough wisdom wold I shold refrain,
My heaped cares here to vnfold:
Good Ladies yet my inward paine,
So pricketh me I haue no holde:
But that I must my griefe bewray,
Bedewed in teares with doleful tunes,
That you may heare, and after say,
Loe, this is she whom loue consumes.
¶My grief doth grow by my desire.
To fancie him that stormes my woe:
He naught regards my flaming fire,
Alas why doth he serue me so?
Whose fained teares I did beleeue,
And wept to heare his wailing voice,
But now, alas, too soon I preeue
Al men are false, there is no choice.
¶Had euer woman such reward,
At anie time for her goodwill?
Had euer woman hap so hard,
So cruelly for loue to spill? ​What paps (alas) did giue him food,
That thus vnkindly workes my wo?
What beast is of so cruell moode,
to hate the hart that loues him so?
¶Like as the simple Turtle true,
In mourning groanes I spend the day:
My daily cares night dooth renew,
To thinke how he did me betray:
And when my weary limmes wold rest,
My sleepe vnsound hath dreadfull dreams,
Thus greeuous greefes my hart doth wrest
That stil mine eies run down like streams:
¶And yet, full oft it dooth me good,
To haunt the place where he hath beene,
To kisse the ground whereon he stoode,
When he (alas) my loue did win.
To kisse the Bed wheron we laye?
Now may I thinke vnto my paine,
O blisfull place full oft I say:
Render to me my loue againe,
¶But all is lost that may not be,
Another dooth possesse my right:
His cruell hart, disdaineth me,
New loue hath put the olde, to flight:
He loues to see my watered eyes,
and laughes to see how I do pine:
No words can well my woes comprise,
alas what griefe is like to mine?
¶You comly Dam[e]s, beware by me,
To rue sweete words of fickle trust:
For I may well example be,
How filed talke oft prooues vniust
But sith deceipt haps to my pay,
Good Ladyes helpe my dolefull tunes,
That you may here and after say:
Loe this is she whom loue consumes.