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

​STAMATY, Camille Marie, son of a Greek father and a very musical French mother, was born at Rome, March 23, 1811. After the death of his father in 1818 his mother returned to France, remained some time at Dijon, and finally went to Paris. There, after long coquetting between music and business as a profession, Stamaty, in 1828, took an employés post in the Prefecture of the Seine. But music retained its influence on him, and under Fessy and Kalkbrenner he became a remarkable player. An attack of rheumatism forced him from playing to the study of composition. In March 1835 he made his first public appearance in a concert, the programme of which contained a concerto and other pieces of his composition. This led to his being much sought after as a teacher. But he was not satisfied, and in Sept. 1836 went to Leipzig, attracted doubtless by the fame of Mendelssohn and Schumann, then both resident there (Mendelssohn Family, ii. 20). After a short course of instruction from Mendelssohn, he returned to Paris early in 1837, and introduced much more classical music—Bach, Mozart, Beethoven, etc.—into his programmes. In 1846 he lost his mother, in 1848 he married, in 1862 was made Chevalier of the Legion of Honour, and on April 19, 1870, closed a long career of usefulness and enthusiasm. From a crowd of pupils it is sufficient to name Gottschalk and Saint Säens. His most permanent works are educational—'Le Rhythme des doigts,' much praised; 'Etudes progressives' (op. 37-39); 'Etudes concertantes' (ops. 46, 47); 'Esquisse' (op. 19); 'Etudes pittoresques' (op. 21); 'Six études caracteristiques sur Obéron,' and 12 transcriptions entitled 'Souvenir du Conservatoire.'
[ G. ]
# A Dictionary of Music and Musicians/Stamitz

[ G. ]
# A Critical Pronouncing Dictionary (4th edition)/Conclusion

CONCLUSION.
Thus, after many years of labour and anxious observation, a great part of which has been bestowed on this Dictionary, I have given many additional corrections and improvements to a Fourth Edition of it. The favourable reception it has met with from the Public, demands my warmest acknowledgements; but at the same time makes me regret the diminished value of the former Editions, from the various corrections and improvements in this; but the judicious and candid observer will acknowledge, that a work comprehending such an infinite number of nice distinctions, and minute particulars, which (as Dr. Lowth observes) often escape observation when they are most obvious, would naturally admit of several corrections and amendments in future Editions. I have dissembled no difficulty; I have stifled no objection; and have sometimes chosen to risk the appearance of uncertainty and indecision, to those who are easily imposed upon by confidence and self-sufficiency, rather than hazard the opinion of the judicious few, by deciding without adequate reasons: and this Edition, the result of much fatigue and anxiety, has, I flatter myself, fewer faults than any similar work of the same delicacy, extent, and complexity. With thankfulness, therefore, to God, who has supported me through the whole of it, I once more consign it to the candid and discerning Public.
G. Sidney, Printer,
Northumberland St. Strand.
# A Critical Pronouncing Dictionary (4th edition)/Appendix

APPENDIX.
The Appendix in the third Edition being incorporated into the present, no place could be found for the following class of words of the termination in ose, which are so variously accented by our Lexicographers; but which, from their form and derivation, ought certainly to be pronounced alike. This will evidently appear from the following sketch.
| Ash. | Johnson. | Sheridan. | Entick. | Kenrick. | Perry. | Nares. | Scott. | Buchanan. |
| An′helose. | Anhelóse. | Anhelóse. | | | | | | |
| Silic′ulose. | Silic′ulose. | | | | | | | |
| Cal′culose. | Cal′culose. | Calculóse. | | | | | | |
| Tu′mulose. | Tumulóse. | Tu′mulose. | ———— | Tu′mulose. | Tu′mulose. | | | |
| An′imose. | Animóse. | Animóse. | | | | | | |
| Venénose. | Venenóse. | Venenóse. | Venénose. | ———— | ———— | Venénose. | | |
| Arénose. | Arenóse. | Arenóse. | Arénose. | ———— | Arenóse. | | | |
| Silig′inose. | Silig′inose. | | | | | | | |
| Crínose. | Crínose. | ———— | Crínose. | | | | | |
| Op′erose | Operóse. | Operóse. | Op′erose | Operóse. | ———— | Operóse. | Operóse. | Operóse. |
| Moróse. | Moróse. | Moróse. | Moróse. | Moróse. | Moróse. | ———— | Moróse. | Moróse. |
| Edem′atose. | Edematóse. | ———— | Edem′atose. | Edem′atose. | | | | |
| Com′atose. | Comatóse. | ———— | Com′atose. | Comatóse. | | | | |
| Acétose. | Acetóse. | Acetóse. | Acétose. | ———— | Acétose. | ———— | Acetóse. | |
| A′quose. | Aquóse. | Aquóse. | A′quose. | ———— | ———— | Aquóse. | | |
| Si′liquose. | Sil′iquose. | Siliquóse. | Si′liquose. | Si′liquose. | Sil′iquose. | | | |
| Ac′tuose. | Actuóse. | | | | | | | |
| Púlicose. | Púlicose. | Pulicóse. | | | | | | |
The variety of accentuation which this sketch exhibits, sufficiently shows how uncertain are our Dictionaries where usage is obscure. From the decided prevalence of the accent on the last syllable of these words, we may easily guess at the analogy of pronunciation, and, with very little hesitation, determine that the accent ought to be placed on the last syllable of them all.
# A Critical Pronouncing Dictionary (4th edition)/Dictionary/X

☞ (559). F1ate (73), f2ar (77), f3all (83), f4at (81); m1e (93), m2et (95); p1ine (105), p2in (107); n1o (162), m2ove (164), n3or (167), n4ot (163); t1ube (171), t2ub (172), b3ull (173); 3o2il (299); p3o3und (313); thin (466), this (469).
X.
X, says Johnson, is a letter which, though found in Saxon words, begins no word in the English language.
☞ It may be observed, that in words from the Greek, where it is initial, it is always pronounced like Z. For the true pronunciation of this letter, when medial or final in English words, See Principles, No. 476.
Xerocollyrium, z1e-r1o-k4ol-l2ir′r1e-2um. s.
A dry plaster for sore eyes.
Xerodes, z1e-r1o′d1ez. s.
Any tumour attended with dryness.
Xeromirum, z2er-1o-m1i′r2um. s. (503)
A drying ointment.
Xerophagy, z1e-r4of′4a-j1e. s. (518)
The eating of dry meats, a sort of fast among the Primitive Christians.
Xerophthalmy, z1e-r4op′th4al-m1e. s.
A dry red soreness or itching in the eyes, without any dropping or swelling.
Xerotes, z1e-r1o′t1ez. s. (503)
A dry habit or disposition of body.
Xiphias, z2if′1e-4as. s.
The sword fish; also a comet shaped like a sword.
Xiphoides, z1e-f3o1e′d1ez. s.
The pointed sword-like cartilage or gristle of the breast bone.
Xylobalsamum, z1i-l1o-b4al′s4a-m2um. s.
The wood of the balsam tree.
Xyster, z2is′t2ur. s.
A surgeon's instrument to scrape and shave bones with.
# A Critical Pronouncing Dictionary (4th edition)/Dictionary

A
CRITICAL PRONOUNCING DICTIONARY
AND
EXPOSITOR OF THE ENGLISH LANGUAGE.
A B C D E F G H I K L M N O P Q R S T V W X Y Z
# A Dictionary of Music and Musicians/Troupenas, Eugène

[ G. C. ]
# A Dictionary of Music and Musicians/Trovatore, Il

[ G. ]
# A Dictionary of Music and Musicians/Troyens, Les

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

[ G. ]
# A Dictionary of Music and Musicians/Troyers, Ferdinand

[ C. F. P. ]
# A Dictionary of Music and Musicians/Troubadour, The

[ M. ]
# A Dictionary of Music and Musicians/Troyte, Arthur

[ G. ]
# A Dictionary of Music and Musicians/Troutbeck, John

​TROUTBECK, the Rev. John, a well-known translator of librettos into English, was born Nov. 12, 1832, at Blencowe, Cumberland, and educated at Rugby and Oxford, where he graduated B.A. 1856, and M.A. 1858. He took orders in 1855, and has risen through various dignities to be Precentor of Manchester 1865–9, and minor canon of Westminster 1869. He has translated the following for Novello, Ewer, & Co.'s 8vo series:—
Bach. St. John Passion; Christmas Oratorio. Beethoven. Mount of Olives. Brahms. Song of Destiny. David. Le Desert. Gade. Crusaders; Comala; Psyche Gluck. Iphigenia in Aulis; Iphigenia in Tauris; Orphée. Goetz. Taming of the Shrew. Gounod. Redemption. Graun. Der Tod Jesu. Hiller. Song of Victory. Jensen. Feast of Adonis. Mozart. Seraglio. Reinecke. Little Snowdrop. Romberg. Lay of the Bell. Schumann. Advent Song; the King's Son. Wagner. Flying Dutchman. Weber. Jubilee Cantata.
[ G. ]
# A Dictionary of Music and Musicians/Truhn, Friedrich

G. ]
# A Dictionary of Saintly Women/Abiata

​St. Abiata, V. M. See Bahuta.
# A Dictionary of Saintly Women

* related portals: Religion.
* sister projects: Wikidata item.
* Volume 1: A–L (George Bell & Sons, London, 1904)
* Volume 2: M–Z (George Bell & Sons, London, 1905)
This work is in the public domain in the United States because it was published before January 1, 1929.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# A Dictionary of Saintly Women/Aagot

​St. Aagot, Agatha.
# A Dictionary of Saintly Women/Abda

​St. Abda, March 31, M. in Africa. Mart. Rhinoviense. AA.SS.
# A Dictionary of Saintly Women/Abbatissa

​B. Abbatissa, first abbess of the Order of the Holy Ghost at Salamanca, about 11th century. Guénebault, Dic. Iconographique.
# A Dictionary of Saintly Women/Ab

​St. Ab, Ebba.
# A Dictionary of Saintly Women/Abba

​St. Abba or Alla, May 7, M. in Africa, with an immense number of others, of whom about 90 are named. AA.SS. Boll, from the Mart. of St. Jerome.
# A Dictionary of Saintly Women/Abbreviations

ABBREVIATIONS
| AA.SS. | Acta Sanctorum. |
| A.R.M. | Appendix to Roman Martyrology. |
| B. | Blessed. |
| c. | circa. |
| M. | Martyr, martyred. |
| Mart. | Martyrology. |
| O.S.A. | Order of St. Augustine. |
| O.S.B. | Order of St. Benedict. |
| O.S.D. | Order of St. Dominic. |
| O.S.F. | Order of St. Francis. |
| Præter. | Prætermissi. |
| RM. | Roman Martyrology. |
| Ven. | Venerable. |
| V. | Virgin. |
| + | Died. |
# A Dictionary of Saintly Women/Abdela

​St. Abdela (Adela, Adla), 13th century. Princess of Bohemia. Abbess of Gerenrhoda. Half-sister of St. Agnes of Bohemia. Daughter of Premislaus Ottocar I., king of Bohemia (1198-1230), by his wife Abdela or Adela, daughter of Otto, margrave of Meissen. The queen was divorced, either on the ground of consanguinity or on account of her siding with her brother in a quarrel with the king. She then became a Cistercian nun at Wassenburg, in Meissen, leaving besides Abdela, two daughters and a son. Fabricius, Origines Saxonum, numbers St. Abdela among the saints of Saxony. Chanowski, Bohemia Pia. Dlugosch, Hist. Polonica, ii. 640. Palacky, Geschichte von Böhmen, ii., Genealogical Table.
# A Dictionary of Saintly Women/Abia

​St. Abia, otherwise Mariamna (3). See Thecla (1).
# A Dictionary of Music and Musicians/Eckert, Carl

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Ecossaise

From volume 1 of the work.
​ECOSSAISE. A dance, as its name implies, of Scotch origin. It was at first accompanied by the bagpipes, and in its original form was in 3-2 or 2-4 time. The modern Ecossaise, however, is a species of contredanse in quick 2-4 time, consisting of two four-bar or eight-bar sections, with repeats. Franz Schubert has written a number of Ecossaises for the piano, which will be found in his ops. 18, 33, 49, and 67. The following example of the first part of an Ecossaise dates from the commencement of the last century.
[ E. P. ]
# A Dictionary of Music and Musicians/Eddy, Clarence

[ F. H. J. ]
# A Dictionary of Music and Musicians/Edinburgh Professorship of Music

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Edwards, H. Sutherland

[ G. ]
# A Dictionary of Music and Musicians/Eichberg, Julius

[ F. H. J. ]
# A Dictionary of Music and Musicians/Ehlert, Ludwig

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Edwards, Richard

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

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Egmont

From volume 1 of the work.
[ G. ]
# A Dictionary of the Book of Mormon/Jarom

​JAROM. A Nephite prophet who lived in the fourth and fifth centuries before Christ. He was the son of Enos, the son of Jacob, the brother of Nephi, and was intrusted with the care of the plates of Nephi, which he appears to have retained 59 years, or from the 180th to the 239th year of the Nephite annals. From his record we learn that during his days many of the Nephites were a stiff-necked and hard-hearted people, among whom the prophets and priesthood labored diligently, warning them of the great evils that must ultimately result to the nation if they did not repent. Their labors were blessed with measurable success. It is pleasing to learn from Jarom's writings that the Nephite kings and leaders were mighty men in the faith of the Lord, who not only led them to victory over their earthly enemies, but instructed them in the ways of eternal salvation. The laws of the land were exceedingly strict, the law of Moses was rigorously observed, the Sabbath day was kept holy unto the Lord, and profanity and blasphemy were unknown. Under the wise and righteous administration of these kings, the Nephites spread widely over the land of Nephi, ​which was then their home, and increased greatly in numbers, though they were nothing like so numerous as the Lamanites, with whom they had several wars during the time embraced in Jarom's record. The Lamanites invaded the Nephite possessions "many times”' but were driven out as often as they came. During this period the arts of peace were also encouraged, and the Nephites grew exceedingly rich; it also appears to have been an epoch in which manufactures took a decided step in advance. Reference is made to progress in the working of the precious metals, in the manufacture of machinery and tools, as well as of weapons of war; greater attention was paid to fine workmanship in wood and to improvements in building: altogether we may consider it a very prosperous portion of this peopled existence. If Jarom died in the year he delivered the plates to his son Omni, that event took place 362 years before the advent of the Messiah.
# A Dictionary of the Book of Mormon/Jashon, Land of

​JASHON, LAND OF. During the last great war between the Nephites and Lamanites in A. C. 345, the former were driven to the land of Jashon, and hence northward to the land of Shem. This is the only time that this land is mentioned in the Book of Mormon (Mormon, 2:16). It is supposed to have been situated on the northern continent.
# A Dictionary of the Book of Mormon/Jeberechiah

​JEBERECHIAH. The father of a certain Zechariah mentioned in Isaiah, 8:2, and appearing in the Book of Mormon in the quotation of that passage (II Nephi, 18:2). Some suppose it to be a corruption of the name Berechiah.
# A Dictionary of the Book of Mormon/Jeremiah

​JEREMIAH. One of the Twelve Disciples, called and chosen by Jesus to minister to the Nephites at the time of His visit to that people (A. C. 34). Jeremiah was present near the temple in the land Bountiful when Jesus appeared and was baptized by Nephi on the day following. He is not again mentioned by name in the sacred record.
# A Dictionary of the Book of Mormon/Jehovah

​JEHOVAH. This name appears but twice in the Book of Mormon. Once (II Nephi, 22:2) ​in a quotation from the writings of Isaiah; and (Moroni, 10:34) in Moroni's closing remarks, before finally hiding up the records of the Nephites.
# A Dictionary of the Book of Mormon/Jeremiah (II)

​JEREMIAH. The Jewish prophet. He lived and prophesied at the same time as Lehi, and appears to have been personally acquainted with him. Many of his prophecies were recorded on the plates of brass obtained by Nephi from Laban. (I Nephi, 5:13.) His prophecies regarding the destruction of Jerusalem and the advent of the Messiah are referred to by Nephi, the son of Helaman. (Helaman, 8:20.)
# A Dictionary of the Book of Mormon/Jershon

​JERSHON. This was the name given to the regions set apart by the Nephites (B. C. 78) as the home of the Ammonites, or Christian Lamanites. It was situated to the north of Zarahemla and was evidently chosen for the reason that the strength of the Nephite nation would lie between the fugitives and their former countrymen, the Lamanites, who then thirsted for their blood. It was bounded by the Caribbean Sea and the land Bountiful on the north and east, and by the land of Antionum on the south. Its western boundary is not defined, but we are inclined to believe, from the context, that it was the river Sidon. Its geographical situation is partly described in Alma, 27:22, thus: We [the Nephites] will give up the land of Jershon, which is on the east by the sea, which joins the land Bountiful, which is on the south of the land Bountiful. With regard to its southern boundary, Alma, 31:3, states that Antionum lav to the south of it. ​No sooner had the Ammonites taken possession of the land Jershon than a church was established there, with Ammon; the son of king Mosiah, as the high priest. The first attempt on the integrity of its members was made by the anti-Christ Korihor (B. C. 75), but by Ammon's orders he was escorted beyond the borders of Jershon. When division arose among the Zoramites, in the land of Antionum, regarding the preaching of Alma and his associates, and the gospel believers were driven from their homes by their intolerant fellow citizens, Jershon became their place of refuge. The Ammonites having in like manner suffered persecution received the fugitives gladly, and, indifferent alike to the threats and appeals of the Zoramite leaders, found them homes and afforded them the needed succor and helpful guidance (B. C. 75). In the war that followed, Jershon was dispossessed of its citizens and occupied by an army of the Nephites. No battles, however, appear to have been fought there, as the Lamanite commanders transferred the scene of hostilities to other regions. (B. C. 74.) After this, Jershon is not mentioned by name in the Book of Mormon.
# A Dictionary of the Book of Mormon/Jerusalem, City of

​JERUSALEM, CITY OF. A Lamanite city within the borders of the land of Nephi. (See land of Jerusalem.)
# A Dictionary of the Book of Mormon/Jerusalem, City of (II)

​JERUSALEM, CITY OF. The chief city of the Jews. It was the home of Lehi (B. C. 600); there he prophesied and thence he was led by the hand of the Lord. It is often spoken of by the writers in the Book of Mormon, more especially in connection with its destruction by the Babylonians, and is mentioned in frequent quotations from Isaiah. The year of the departure of Lehi from Jerusalem was made the initial date in Nephite chronology; that people counting their years as so many "after Lehi left Jerusalem. " With the establishment of the republic, the Nephites added "year ​of the Judges" to their former system, and their annals sometimes refer to a date in both methods of computation,
# A Dictionary of the Book of Mormon/Jashon, City of

​JASHON, CITY OF. The chief city of the land of Jashon. We are told that it was situated near the land where Ammaron had deposited the records unto the Lord, That land (Mormon, 1:3) was called Antum.
# A Dictionary of Music and Musicians/Falstaff

From volume 1 of the work.
​FALSTAFF. A comic Italian opera in 2 acts; words by Maggioni, music by Balfe. Produced at Her Majesty's Theatre July 19, 1838.
# A Dictionary of Music and Musicians/Falsetto

From volume 1 of the work.
​FALSETTO. The voices of both men and women contain two—or, as defined in the 'Méthode du Chant du Conservatoire de Musique,' three—registers, viz. chest voice (voce di petto); head voice (v. di testa); and a third which, as being forced or non-natural, is called by Italians and French falsetto or fausset, or 'false' voice. The limits of these are by no means fixed. In every voice identical notes can be produced in more ways than one, and thus each register can be extended many degrees beyond its normal ​limits. But it is all but impossible for a singer to keep both first and third registers in working order at the same time. The male counter-tenor, or alto voice, is almost entirely falsetto, and is generally accompanied by an imperfect pronunciation, the vowels usually partaking more or less of the quality of the Italian u or English oo, on which the falsetto seems to be most easily producible.
[ J. H. ]
# A Dictionary of Music and Musicians/Falcon, Marie

[ A. C. ]
# A Dictionary of Music and Musicians/Falling a Bell

From volume 1 of the work.
[ C. A. W. T. ]
# A Dictionary of Music and Musicians/Fandango

From volume 1 of the work.
The rhythm of the castanets was
Mozart's version is known and accessible; Gluck's will be found in the Appendix to Jahn's Mozart.
There is a curious piece of history said to be connected with this dance. Soon after its first introduction, in the 17th century, it was condemned by the ecclesiastical authorities in Spain as a 'godless dance.' Just as the Consistory were about to prohibit it, one of the judges remarked that it was not fair to condemn any one unheard. Two celebrated dancers were accordingly introduced to perform the fandango before the Consistory. This they did with such effect, that, according to the old chronicler, 'every one joined in, and the hall of the consistorium was turned into a dancing saloon.' No more was heard of the condemnation of the fandango.
[ E. P. ]
# A Dictionary of Music and Musicians/False Relation

From volume 1 of the work.
​FALSE RELATION is the occurrence of chromatic contradiction in different parts or voices, either simultaneously, as at (a), or in chords which are so near together that the effect of one has not passed from the mind before the other comes to contradict it with a new accidental, as at (b).
The disagreeable effect is produced by the contradictory accidentals belonging to different keys, or unequivocally to major or minor of the same key; and it follows that when the contradiction is between notes which can coexist in the same key the effect is not disagreeable. Thus chromatic passing notes and appoggiaturas do not affect the key, and are used without consideration of their apparent contradictions. Schumann uses the sharp and natural of the same note in the same chord in his 'Andante und Variationen' for two pianofortes, op. 46 (a), and Haydn the same in his Quartet in D, op. 71 (b).
Again, notes which are variable in the minor key do not produce any objectionable effect by their juxtaposition, as the minor 7th descending and the major 7th ascending or stationary; thus Mendelssohn in the Overture to 'Ruy Bias' has B♭ and B♮ in alternate chords.
And the treatment of notes which are inter-changeable in chromatic and diatonic chords in the same key is equally free, as between a chromatic note of the chord of the augmented sixth and a succeeding diatonic discord.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Fancies

[ M. ]