OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Durante, Francesco

From volume 1 of the work.
​DURANTE, Francesco, born at Frattamaggiore, Naples, March 15, 1684, a year before Handel and Bach. As a boy he entered the 'Conservatorio dei poveri di Gesu Cristo,' passed to that of S. Onofrio under A. Scarlatti, then perhaps (though this is doubtful) to Rome for five years' study under Pitoni and Pasquini. In 1718 became head of S. Onofrio, and in 1742 relinquished that post to succeed Porpora at the Conservatorio Santa Maria di Loreto at Naples, in which position he died Aug. 13, 1755. Durante was a man of singularly reserved and uncouth manners, yet he was three times married, and his pupils were not only numerous and very distinguished, but appear to have been much attached to him. His salary at S. Maria was but 10 ducats a month—not £20 [App. p.619 "about £55"] per annum—but out of it he contrived to add a chapel to the church of St. Antonio in his native town, with a statue of the archangel Gabriel, bearing his own name. He himself composed only for the church, but his scholars, Traetta, Vinci, Jomelli, Piccinni, Sacchini, Guglielmi, and Paisiello, were all great opera writers, and may be said to have occupied the stage of Europe during the last half of the 18th century to the exclusion of every one but Gluck and Mozart. The library of the Conservatoire at Paris contains a large collection of his works. The list, as given by Fétis, comprises 13 masses and credos; 16 psalms; hymns, motets, litanies, etc., to the number of 28. These are written for various numbers of voices from 3 to 9, occasionally with orchestra, but usually without. The Vienna library has in addition his Lamentations of Jeremiah, a so-called 'Pastoral-Mass' and other compositions.
[ G. ]
# A Dictionary of Music and Musicians/Duni, Egidio

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Duport

From volume 1 of the work.
​DUPORT. Two eminent cellists, brothers.
1. Jean Pierre—'Duport l'ainé'—born at Paris, Nov. 27, 1741. Considered the best pupil of Berthaut. Soon achieved a great reputation in Paris, but after 10 years of success started on a lengthened tour through England and Spain, and finally in 1773, on the invitation of Frederick the Great, settled at Berlin as first cello in the king's band, and after Frederick's death director of Court concerts. After the battle of Jena, his post was abolished, but he continued to live at Berlin till his death in 1818 [App. p.619 "Dec. 31"]. His publications are few and unimportant.
[ G. ]
# A Dictionary of Music and Musicians/Duodrama

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Duparc

From volume 1 of the work.
​DUPARC. See Francesina.
# A Dictionary of Music and Musicians/Dupont, Auguste

​DUPONT, Auguste, born at Ensival near Liège, Feb. 9, 1828, was educated at the Liège Conservatoire, and after several years spent in successful travel as a pianist was appointed a professor of the Brussels Conservatoire. His works for the pianoforte are numerous, and show a thorough knowledge of the instrument. They are cast in a popular mould, and may be said to belong to the class of drawing-room music, but they are free from all that is meretricious. A 'Concertstück' (op. 42) and a Concerto in F minor (op. 49) both with orchestral accompaniment, are his most ambitious works. Among his solo pieces the best are 'Roman en dix pages' (op. 48), a set of short pieces showing the influence of Schumann in their structure, and 'Contes du Foyer' (op. 12). A set of songs called 'Poeme d'amour,' contains much that is pleasing and original. His younger brother,
[ M. ]
# A Dictionary of Music and Musicians/Dupuis, Thomas

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Improvisation

From volume 2 of the work.
​IMPROVISATION, an equivalent term for Extempore Playing or Extemporising. Moscheles has left a curious account of the way in which Mendelssohn and he used to amuse themselves by improvising à quatre mains, a feat already mentioned in respect to Beethoven and Wölffl under Extempore. 'We often,' says he (Life, i. 274), 'improvise together on his magnificent Erard, each of us trying to dart as quick as lightning on the suggestions contained in the other's harmonies and to make fresh ones upon them. Then, if I bring in a theme out of his music, he immediately cuts in with one out of mine; then I retort, and then he, and so on ad infinitum, like two people at blind man's buff running against each other.'
[ G. ]
# A Dictionary of Music and Musicians/Impresario, L'

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/In Nomine

From volume 2 of the work.
​IN NOMINE. A somewhat vague name, bestowed, by old English writers, on a certain kind of Motet, or Antiphon, composed to Latin words. It seems to have been used, in the first instance, for compositions the text of which began with the words in question, or in which those words were brought prominently forward: such as the Introit, 'In nomine Jesu'; the Psalm, 'Deus, in nomine tuo'; and other similar cases. But its signification certainly became more extended: for Butler, writing in 1636, commends 'the In nomines of Parsons, Tye, and Taverner,' just as we should commend the Madrigals of Weelkes, or Morley, or Gibbons. The name is even employed for instrumental pieces.
[ W. S. R. ]
# A Dictionary of Music and Musicians/In Questa Tomba Oscura

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

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Immanuel

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Immyns, John

From volume 1 of the work.
​IMMYNS, John, by profession an attorney, was an active member of the Academy of Ancient Music. Having in his younger days been guilty of some indiscretion which proved a bar to success in his profession, he was reduced to become clerk to a city attorney, copyist to the Academy, and amanuensis to Dr. Pepusch. He possessed a strong alto voice and played indifferently on the flute, violin, viol da gamba and harpsichord. At the age of 40, by the sole aid of Mace's 'Musick's Monument,' he learned to play upon the lute. In 1741 he established the Madrigal Society [see Madrigal Society.] In 1752, upon the death of John Shore, he was appointed lutenist of the Chapel Royal. He was a diligent collector and assiduous student of the works of the madrigal writers and other early composers, but had no taste whatever for the music of his own time. He died of an asthma at his residence in Cold Bath Fields, April 15, 1764.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Imitation

From volume 1 of the work.
​IMITATION is a name given to one of the most useful and indeed necessary devices in contrapuntal composition. It consists in a repetition, more or less exact, by one voice of a phrase or passage previously enunciated by another, e.g.—
In the former of these examples the imitation takes place at one bar's distance, and at the interval of an eleventh above. In the latter it is at the interval of an octave below.
If the imitation is absolutely exact as to intervals it becomes a Canon. But in the majority of cases imitations are not canonical. Imitations may take place at any interval or at any distance. They may also be sustained by any number of voices or instruments, e. g.—
where we have an imitation in four parts.
​Imitations are sometimes conducted by contrary motion of the parts, or 'by inversion,' e.g.—
More rarely we meet with imitations per rectè et retrò or, as they are sometimes called, 'by reversion,' in which the antecedent, being read backwards, becomes the consequent:—
(These examples are all taken from Fétis.)
[ F. A. G. O. ]
# 1911 Encyclopædia Britannica/Wise, Henry Alexander

See also Henry A. Wise and John Sergeant Wise on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WISE, HENRY ALEXANDER (1806-1876), American politician and soldier, was born at Drummondtown (or Accomac), Accomack county, Virginia, on the 3rd of December 1806. He graduated from Washington (now Washington and Jefferson) College, Pennsylvania, in 1825, and began to practise law in Nashville, Tennessee, in 1828. He returned to Accomack county, Va., in 1830, and served in the National House of Representatives in 1833-1837 as an anti-nullification Democrat, but broke with the party on the withdrawal of the deposits from the United States Bank, and was re-elected to Congress in 1837, 1839 and 1841 as a Whig, and in 1843 as a Tyler Democrat. From 1844 to 1847 he was minister to Brazil. In 1850-1851 he was a member of the convention to revise the Virginia constitution, and advocated white manhood suffrage, internal improvements, and the abolition of imprisonment for debt. In 1855 he was elected governor of the state (1856-1860) as a Democrat. John Brown's raid occurred during his term, and Wise refused to reprieve Brown after sentence had been passed. He strongly opposed secession, but finally voted for the Virginia ordinance, was commissioned brigadier-general in the Confederate army and served throughout the war. He died at Richmond, Va., on the 12th of September 1876. He wrote Seven Decades of the Union 1790-1860 {1872).
His son, John Sergeant Wise (b. 1846), United States attorney for the Eastern District of Virginia in 1881-1883, and a member of the National House of Representatives in 1883-1885, wrote The End of an Era (1899) and Recollections of Thirteen Presidents (1906).
See the Life of H. A. Wise, by his grandson, B. H. Wise (1899).
# 1911 Encyclopædia Britannica/Wirksworth

See also Wirksworth on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WIRKSWORTH, a market town in the western parliamentary division of Derbyshire, England, 14 m. N.N.W. of Derby, on a branch of the Midland railway. Pop. of urban district (1901) 3807. It is picturesquely situated at the head of the valley of a small tributary of the Derwent, at an elevation exceeding 500 ft., and is almost encircled by sharply rising hills. The cruciform church of St Mary, with a central tower and short spire, is in great part Early English, with Perpendicular additions, but considerable traces of a Norman building were revealed during a modern restoration. There is a manufacture of tape in the town, and lead-mining and stone-quarrying are carried on in the neighbourhood; relics of the Roman working of the lead mines have been discovered. A large brass vessel used as a standard measure for the lead ore, and dating from the time of Henry VIII., is preserved.
# 1911 Encyclopædia Britannica/Wishart, George

See also George Wishart on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WISHART, GEORGE (c. 1513–1346), Scottish reformer, born about 1513, belonged to a younger branch of the Wisharts of Pitarrow. His early life has been the subject of many conjectures; but apparently he graduated M.A., probably at King’s College, Aberdeen, and taught as a schoolmaster at Montrose. Accused of heresy in 1538, he fled to England, where a similar charge was brought against him at Bristol in the following year. In 1539 or 1540 he started for Germany and Switzerland, and returning to England became a member of Corpus Christi College, Cambridge. In 1543 he went to Scotland in the train of a Scottish embassy which had come to London to consider the treaty of marriage between Prince Edward and the infant queen of Scots. There has been much controversy whether he was the Wishart who in April 1544 approached the English government with a proposal for getting rid of Cardinal Beaton. Roman Catholic historians such as Bellesheim, and Anglicans like Canon Dixon, have accepted the identification, while Froude does not dispute it and Dr Gairdner avoids committing himself (Letters and Papers of Henry VIII. vol. xix. pt. i., Introd. pp. xxvii-xxviii). There was another George Wishart, bailie of Dundee, who allied himself with Beaton’s murderers; and Sir John Wishart (d. 1576), afterwards a Scottish judge, has also claims to the doubtful distinction. Sir John was certainly a friend of Creighton, laird of Branston, who was deeply implicated in the plot, but Creighton also befriended the reformer during his evangelical labours in Midlothian. The case against the reformer is not proven and is not probable.
His career as a preacher began in 1544, and the story has been told in glowing colours by his disciple John Knox. He went from place to place in peril of his life denouncing the errors of Rome and the abuses in the church at Montrose, Dundee, Ayr, in Kyle, at Perth, Edinburgh, Leith, Haddington and elsewhere. At Ormiston, in December 1545, he was seized by the earl of Bothwell, and transferred by order of the privy council to Edinburgh castle on January 19, 1546. Thence he was handed over to Cardinal Beaton, who had him burnt at St Andrews on March 1. Foxe and Knox attribute to him a prophecy of the death of the Cardinal, who was assassinated on May 29 following, partly at any rate in revenge for Wishart’s death.
Knox’s Hist.; Reg. P.C. Scotland; Foxe’s Acts and Monuments; Hay Fleming’s Martyrs and Confessors of St Andrews; Cramond’s Truth about Wishart (1898); and Dict. of Nat. Biogr. vol. lxii. (248-251, 253-254). (A. F. P.)
# 1911 Encyclopædia Britannica/Wise, Isaac Mayer

See also Isaac Mayer Wise on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WISE, ISAAC MAYER (1819-1900), American Jewish theologian, was born in Bohemia, but his career is associated with the organization of the Jewish reform movement in the United States. From the moment of his arrival in America (1846) his influence made itself felt. In 1854 he was appointed rabbi at Cincinnati. Some of his actions roused considerable opposition. Thus he was instrumental in compiling a new prayer-book, which he designed as the “American Rite” (Minhag America). He was opposed to political Zionism, and the Montreal Conference (1897), at his instigation, passed resolutions disapproving of the attempt to establish a Jewish state, and affirming that the Jewish Messianic hope pointed to a great universal brotherhood. In keeping with this denial of a Jewish nationality, Wise believed in national varieties of Judaism, and strove to harmonize the synagogue with local circumstances and sympathies. In 1848 ​he conceived the idea of a union, and after a campaign lasting a quarter of a century the Union of American Hebrew Congregations was founded (1873) in Cincinnati. As a corollary of this he founded in 1875 the “Hebrew Union College” in the same city, and this institution has since trained a large number of the rabbis of America. Wise also organized various general assemblies of rabbis, and in 1889 established the Central Conference of American Rabbis. He was the first to introduce family pews in synagogues, and in many other ways “occidentalized” Jewish worship.
See D. Philipson, The Reform Movement in Judaism (1907).  (I. A.)
# A Dictionary of Music and Musicians/Paer, Ferdinando

From volume 2 of the work.
[ A. M. ]
# A Dictionary of Music and Musicians/Paine, John

From volume 2 of the work.
​PAINE, John Knowles, born at Portland, Maine, U.S.A., Jan. 9, 1839. His earliest teacher in piano, organ, and composition was Hermann Kotzschmar, of Portland. He made his first appearance in public as an organist, in his native city, June 25, 1857; and on Jan. 1, 1858, was intrusted with the organ accompaniments to 'The Messiah,' without the assistance of an orchestra. In the same year he went to Berlin for three years, and studied the organ, composition, instrumentation, and singing, under Haupt, Wieprecht, and Teschner, giving several organ concerts during his stay. He returned to the United States in 1861, and gave a number of ​organ concerts, at which the principal compositions of Bach and Thiele were introduced to the American public. In 1862 he was appointed instructor of music at Harvard University, and in 1876 was raised to a full professorship as the first occupant of the chair. Other leading events in his career have been the production of his Mass at the Singakademie, Berlin, under his direction, Feb. 1867; of the oratorio 'Saint Peter,' also under his own direction, at Portland, June 3, 1873 (afterwards given by the Handel find Haydn Society, Boston, May 9, 1874); and of his first symphony, by Thomas's orchestra, at Boston, Jan. 6, 1876. Paine's compositions evince nobility and high aspiration, and mastery of the classical forms. His later works, beginning with the Trio in D minor (op. 22), show a gradually increasing tendency to the modern Romantic school, in both form and treatment. His orchestral works, with the exception of op. 34 (1879), have all been performed at Boston, New York, and other cities in the United States. Many of the piano pieces and chamber compositions have also frequently appeared in American concert programmes.
His published works consist of:—Op. 3. Variations for organ—'Austrian Hymn,' 'The StarSpangled Banner.' Op. 7. 'Christmas gift,' P.F. Op. 9. Funeral march, P.F. Op. 10. Mass (D), for solos, chorus, and orchestra. Op. 11. Vier Character-Stucke, P.F. Op. 12. Romance, C minor, P.F. Op. 19. Two preludes, organ. Op. 20. 'Saint Peter,' oratorio. Op. 25. Four characteristic pieces, P.F. Op. 26. 'In the Country,' 10 sketches, P.F. Op. 27. Centennial Hymn, words by Whittier; sung at the opening of the Centennial Exhibition, Philadelphia, May, 1876. Op. 29. Four songs, soprano.
[ F. H. J. ]
# A Dictionary of Music and Musicians/Pacini, Andrea

From volume 2 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Padilla-y-Ramos

​PADILLA-Y-RAMOS. See Artot in Appendix, vol. iv. p. 524, note 3.
# A Dictionary of Music and Musicians/Paisible

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Padua

From volume 2 of the work.
[ C. M. P. ]
# A Dictionary of Music and Musicians/Maxwell, Francis

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Mazas, Jacques-Féréol

From volume 2 of the work.
​MAZAS, Jacques-Féréol, French violinist and composer, was born in 1782 [App. p.715 "Sept. 23"] at Beziers. He entered the Paris Conservatoire in 1802, and after having studied for three years under Baillot, obtained the first prize for violin-playing. He had great success at Paris, especially with his performance of a violin-concerto by Auber at the Conservatoire. He travelled through a very large part of Europe, and returned in 1829 to Paris, without however gaining his former success. In 1837 he left Paris again, and accepted the directorship of a music-school at Cambrai. He died in 1849.
[ P. D. ]
# A Dictionary of Music and Musicians/Mayer, Charles

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/May, Edward

From volume 2 of the work.
​MAY, Edward Collett, born October 29, 1806, at Greenwich, where his father was a shipbuilder. His first teacher was his brother Henry, an amateur musician and composer of considerable ability. When about fifteen years of age, Thomas Adams, then organist of St. Paul's, Deptford, and an intimate friend of the May family, struck by the promise and intelligence of Edward, offered to take him as a pupil. This offer was, of course, willingly accepted, and for several years he received regular instruction in composition and organ-playing from that admirable musician and then peerless executant. Subsequently he became a pupil of Cipriani Potter for the pianoforte, and of Crivelli for singing. In 1837 he was appointed organist of Greenwich Hospital, an office he held till the abolition of the institution in 1869. May's entry on the particular work to which his talents have now for so many years been so successfully devoted, grew out of his accidental attendance at one of many lectures on popular instruction in vocal music, given by the writer of this notice about the year 1841. From that time to the present (1879) he has devoted himself enthusiastically and exclusively to such teaching; and it may be safely asserted, that to no individual, of any age or country, have so many persons of all ages and of both sexes been indebted for their musical skill. At one institution alone, the National Society's Central School, more than a thousand teachers and many more children have been instructed by him. At Exeter Hall, the Apollonicon Rooms, and subsequently St. Martin's Hall, several thousand adults passed through his classes; while, for many years past, he has been the sole musical instructor at the Training Schools, Battersea, St. Mark's, Whitelands, Home and Colonial, and Hockerill; institutions from which upwards of 250 teachers are annually sent forth to elementary schools. After many years connection with the Institution, Mr. May has recently—wholly without solicitation on his part—been appointed Professor of Vocal Music in Queen's College, London. The words of Béranger, applied to Wilhem, may with equal propriety be applied to May,—not merely has he devoted the best years of his life and all his energies to public musical instruction, but sacrificed every other aim or object to it—'même sa gloire.' [App. p.715 "add date of death, Jan. 2, 1887"]
[ J. H. ]
# A Dictionary of Music and Musicians/May-Queen, The

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

From volume 2 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Maurel, Victor

[ A. C. ]
# A Dictionary of Music and Musicians/Maynard, John

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Maurer, Ludwig

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Mayer, Johann Simon

From volume 2 of the work.
[ F. G. ]
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/1892-1916

U.S. Army Center for Military History publication

## 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
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve

U.S. Army Center for Military History publication
* ARMY LINEAGE SERIES
* ARMOR-CAVALRY
* Part I:
* Regular Army and Army Reserve
* by
* Mary Lee Stubbs
* and
* Stanley Russell Connor
* OFFICE OF THE CHIEF OF MILITARY HISTORY
* UNITED STATES ARMY
* WASHINGTON, D.C., 1969
________________________________________
* Library of Congress Catalog Card Number: 69-60002
* First Printing
________________________________________
* Foreword
* The Authors
* History of the Organization of the Armor and Cavalry
** Revolutionary War
** War of 1812 to Civil War
** Civil War
** Indian Wars Period
** 1892-1916
* World War I
** Cavalry in World War I
** Tanks in World War I
* Between the World Wars
** Tanks between the World Wars
** Cavalry between the World Wars
* World War II
** Armored Force
** Tank Design and Production
** Tank Destroyers
** Cavalry in World War II
* Post-World War II
* Korean War
* Post-Korean War
* Chart: Typical Armor/Cavalry Regiment under CARS

## 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