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

From volume 1 of the work.
​BUNTING, Edward, son of an English engineer and an Irish lady, born at Armagh in February 1773. He was educated as an organ and pianoforte player, and distinguished himself for his love of Irish music, of which he published three collections. The first, containing Irish airs 'never before published,' came out in 1796. A ​second, containing 75 additional airs (words by Campbell and others), and a dissertation on the Irish Harp, appeared in 1809. A third collection, containing upwards of 150 airs, of which more than 120 were then for the first time given to the public, was published in 1840. This last collection is remarkable for a dissertation of 100 pages upon the history and practice of music in Ireland. According to this dissertation 'the occasion which first confirmed him in his partiality for the airs of his native country, was the great meeting of the Harpers at Belfast in 1792. Before this time there had been several similar meetings at Granard, in the county of Longford, which had excited a surprising degree of interest in Irish music throughout that part of the country. The meeting at Belfast was however better attended than any that had yet taken place, and its effects were more permanent, for it kindled an enthusiasm throughout the north which burns bright in some warm and honest hearts to this day. All the best of the old class of Harpers—a race of men then nearly extinct, and now gone for ever—Dennis Hempson, Arthur O'Neill, Charles Fanning, and seven others, the least able of whom has not left his like behind, were present.' Aided by O'Neill and the other harpers, Bunting immediately began to form his first collection. He travelled into Derry, Tyrone, and Connaught, where, especially in the last, he obtained a great number of excellent airs. His first and second collections contain the best Irish airs, although in his third there are several very good ones, and some very curious. Among these last are the 'carinans or dirges, and airs to which Ossianic and other old poems are sung,' and which the editor gives as 'very ancient'—many hundred years old. He afterwards endeavours to analyse the structure of Irish airs, and to point out their characteristics.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Burden

From volume 1 of the work.
​BURDEN or BURTHEN. Old songs and ballads frequently had a chorus or motto to each verse, which in the language of the time was called a Burden or Bob. One of the most ancient and most popular was 'Hey troly loly lo,' quoted in 'Piers Plowman,' 1362, and other early songs. It occurs after every line of a song of the time of Edward IV (Sloane MS. No. 1584); and in Isaac Walton's 'Compleat Angler' is the burden of 'O the sweet contentment the countryman doth find,'
'Heigh trollollie loe,  Heigh trollollie lee.'
The ancient 'Frogge Song' has the ridiculous burden—
'Farthing linkum laddium,  Fann—ho—fanny ho,  Farthing glen.'
In the ballad of 'feir Eglamore,' which was very popular in the i?th century, the burden is 'Fa la, lanky down dilly.' In Shakespeare's 'Tempest ' we find—
'Foote it featly heere and there,  And sweet Sprites the burthen beare.'
The stage direction to which is 'Burthen dispersedly'; and the burthen follows—
'Harke, harke, bowgh-wough;  The watch-dogges barke  Bowgh-wough.'
The second song in the same play has 'Ding-dong' for the burden. In 'As You Like It' Celia says 'I would sing my song without a burthen, thou bring'st me out of tune.'
The ballad 'The Jolly Miller' has been a favourite from the 16th or 17th century, and was sent to Beethoven to harmonise on account of 'its merited popularity' by Thomson, who inserted it in his 'Scotch Songs,' 1824. In it we find the lines—
'This the burden of his song  For ever us'd to be,  I care for nobody, no, not I,  If nobody cares for me.'
[ W. H. C. ]
# A Dictionary of Music and Musicians/Burgmüller, Fr.

​BURGMÜLLER, Fr. See vol. ii. p. 729a, where the date of his birth should be corrected to 1806. Add a reference to Flotow and Lady Henrietta.
# A Dictionary of Music and Musicians/Buononcini

​BUONONCINI. See vol. i. p. 649, note, and add a reference to Ariosti.
# A Dictionary of Music and Musicians/Buranello

​BURANELLO. See Galuppi, vol. i. p. 579.
# A Dictionary of Greek and Roman Antiquities/X
## Xenagi – Xystus

* Xenagi
* Xenelasia
* Xeni
* Xenia
* Xenias graphe
* Xestes
* Xystus
# A Dictionary of Greek and Roman Antiquities/Z
## Zetetae – Zythum

* Zetetae
* Zeugitae
* Zona
* Zophorus
* Zythum
# A Dictionary of Greek and Roman Antiquities/T
## Tabella – Testa

* Tabella
* Tabellariae leges
* Tabellarius
* Tabellio
* Taberna
* Tabernaculum
* Tablinum
* Tabula lusoria
* Tabulae
* Tabulae publicae
* Tabularii
* Tabularium
* Taeda
* Taenia
* Tagus
* Talaria
* Talassio
* Talentum
* Talio
* Talus
* Tamias
* Tapete
* Taphus
* Tarentini ludi
* Tarrhus
* Tauria
* Taurii ludi
* Taurobolium
* Taxiarchi
* Taxis
* Tectorium opus
* Tegula
* Teichopoei
* Tela
* Telamones
* Teletae
* Telones
* Telos
* Temenos
* Templum
* Tensae
* Tepidarium
* Terebra
* Terentini ludi
* Terminalia
* Terracottas
* Teruncius
* Tessera
* Tesseraconteres
* Testa

## Testamentum – Trabea

* Testamentum
* Testis
* Testudo
* Tetradrachmon
* Tetrarcha
* Tetrastylos
* Tetrobolus
* Tettaraconta
* Thallophori
* Thalysia
* Thargelia
* Theatrum
* Thensae
* Theodosianus codex
* Theophania
* Theori
* Theoria
* Theoricon
* Theoris
* Theoxenia
* Thermae
* Thermopolium
* Thesaurus
* Theseia
* Thesmophoria
* Thiesmothetae
* Thetes
* Tholus
* Thronus
* Thyrsus
* Tiara
* Tibia
* Timema
* Timocratia
* Tintinnabulum
* Tiro
* Tithenidia
* Tities
* Titii sodales
* Tocos
* Toga
* Torcular
* Torcularium
* Toreutice
* Tormentum 1.
* Tormentum 2.
* Torques
* Torus
* Toxotae
* Trabea

## Traditio – Tutelae actio

* Traditio
* Tragoedia
* Transenna
* Transtra
* Transvectio
* Trapetum
* Traumatos ek pronoias graphe
* Tresviri
* Triarii
* Tribon
* Tribulum
* Tribulus
* Tribunal
* Tribunus
* Tribus
* Tiributujm
* Triclinium
* Tridens
* Triens
* Trierarchia
* Trieropoei
* Triglyphus
* Tripos
* Tripudium
* Triremis
* Tritagonistes
* Trittya
* Trittys
* Triumphus
* Triumviri
* Trochus
* Trojae ludus
* Tropaeum
* Trossuli
* Trulla
* Trulleum
* Trutina
* Tuba
* Tubilustrum
* Tubus
* Tugurium
* Tullianum
* Tumultus
* Tunica
* Turbo
* Turibulum
* Turma
* Turris
* Tutela
* Tutelae actio

## Tutor – Tyrannus

* Tutor
* Tymboruchias graphe
* Tympanum
* Tyrannus
# A Dictionary of Greek and Roman Antiquities/U, V
## Vacantia bona – Vindex

* Vacantia bona
* Vacatio militiae
* Vadimonium
* Vagina
* Valetudinarium
* Vallum
* Vannus
* Vappa
* Vas
* Vas
* Vasarium
* Udo
* Vectigalia
* Vectigalia templorum
* Venabulum
* Venatio
* Veneficium
* Ver sacrum
* Verbena
* Verbenarius
* Verna
* Verso in rem actio
* Versura
* Veru
* Vespae
* Vestales
* Vestibulum
* Vesticeps
* Vestis
* Vexillarii
* Vexillum
* Viae
* Viaticum
* Viator
* Vicarii servi
* Vicesima
* Vicomagistri
* Victima
* Victoriatus
* Vicus 1.
* Vicus 2.
* Vigiles
* Vigiliae
* Viginti sex viri
* Vigintiviri
* Villa
* Villicus
* Vinalia
* Vindemialis feria
* Vindex

## Vindicatio – Uxorium

* Vindicatio
* Vindicta
* Vinea
* Vinum
* Viocuri
* Virgae
* Vis
* Vis et vis armata
* Vitrum
* Vitta
* Ulna
* Ultrotributa
* Umbella
* Umbilicus
* Umbo
* Umbraculum
* Uncia
* Unciarium fenus
* Unctores
* Unguentum
* Universitas
* Vocatio
* Voconia lex
* Volcanalia
* Volsellae
* Vota publica
* Votoruim nuncupatio
* Urceus
* Usucapio
* Usurpatio
* Ususfructus
* Usus
* Uterini
* Uti possidetis
* Utres
* Uxorium
# A Dictionary of Hymnology

* related portals: Hymns.
* sister projects: Wikipedia article, Commons category, Wikidata item.
This work was first published in 1892. This edition is a 1908 reprint of the second revised edition which was first published in 1907.
A DICTIONARY OF HYMNOLOGY.
A DICTIONARY OF HYMNOLOGY SETTING FORTH THE ORIGIN AND HISTORY OF CHRISTIAN HYMNS OF ALL AGES AND NATIONS.
EDITED BY JOHN JULIAN, D.D. Vicar of Topcliffe, Yorkshire; Prebendary of Fenton in York Minster; and Canon of York.
REVISED EDITION, WITH NEW SUPPLEMENT.
SECOND IMPRESSION.
LONDON: JOHN MURRAY, ALBEMARLE STREET. 1908.
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND DECCLES.
TABLE OF CONTENTS.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Dictionary of Hymnology/A. (Addison)

​A. In Bristol Bapt. Coll. by Ash & Evans. 1st ed. 1769; i.e. Joseph Addison.
# A Dictionary of Greek and Roman Antiquities/Taberna

TABERNA 1. (σκηναί, γέῤῥα), a shop or booth. [Domus Vol. I. pp. 679, 680; Agora Vol. I. pp. 46, 47.] 2. A wine-shop or tavern. [Caupona]
# A Dictionary of Greek and Roman Antiquities/Terminalia

TERMINA´LIA a festival in honour of the god Terminus, who presided over boundaries (Dionys. A. R. 2.74; Plut. Num. 16, Qu. R. 15). His statue was merely a stone or post stuck in the ground to distinguish between properties. The boundary-stone at its first setting up was consecrated with peculiar ceremonies. A trench being dug, a victim was sacrificed: the blood was poured into the trench while the ministrants were veiled (which speaks for the antiquity of the rite and its Roman character; cf. Sacrificium p. 586 a): the body of the victim, along with corn, fruits, incense, honey and wine, was cast into the trench and the whole consumed by blazing pine-brands: the boundary-stone was set upon the bed of ashes (Sic. Flacc. p. 141, 8). On the festival the owners of adjacent property crowned the statue with garlands and raised a rude altar, on which they offered up some corn, honeycombs, and wine, and sacrificed a lamb (Hor. Epod. 2.59) or a sucking-pig. They concluded with singing the praises of the god (Ovid, Ov. Fast. 2.639, &c.). The public festival in honour of this god (perhaps, as Huschke thinks, in earlier times marking the conclusion of the Roman year) was celebrated at the sixth milestone on the road towards Laurentum (Id. 682), doubtless because this was originally the extent of the Roman territory in that direction (Marquardt, Staatsverw. 3.202).
The festival of the Terminalia was celebrated a. d. vii. Kal. Mart., or the 23rd of February on the day before the Regifugium. When Cicero in a letter to Atticus (6.1) says, “Accepi tuas litteras a. d. v. Terminalia” (i. e. Feb. 19), he uses this mode of defining a date, according to Mommsen, because being then in Cilicia he had no official notice of the intercalation which was due that year. But Huschke thinks that this was then the regular mode of expressing that date in ordinary (not intercalated) years. He cites an Inscr. from Capua, 14th Feb. A.U.C. 659, “Pagus Herculaneus scivit a. d. x. Terminalia” (Orelli, 3793). As to the method of intercalation, and the connexion of the date Feb. 23rd with the conclusion of the old Roman year, see Calendarium Vol. I. pp. 341 b, 342; and compare Mommsen, Chronologie, p. 38; Huschke, Das röm. Jahr, p. 149.
# A Dictionary of Music and Musicians/Call, Leonard de

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

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

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

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Call Changes

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

From volume 1 of the work.
​CALLINET. See Daublaine.
# A Dictionary of Music and Musicians/Calvisius, Seth

From volume 1 of the work.
[ G. ]
# A Chinese Biographical Dictionary/Fang Kuo-chên

​555 Fang Kuo-chên 方國珍. Died A.D. 1374. A farmer of T'ai-chou in Kiangsu, devoted to athletic exercises. In 1319 he took to piracy, on account of a fatal quarrel with his landlord. In 1348 he submitted and received a post; but he soon returned to piracy, ​which he varied with periods of submission until in 1367 he became Governor of Chehkiang and Kiangsu, and was ennobled as Duke. He received a salary, but was not entrusted with any real power. His name was originally 方珍 Fang Chên (T. 國珍). He changed it to 貞 (T. 谷貞) out of respect to Chu Yüan-chang.
# A Chinese Biographical Dictionary/Fang Pao

​556 Fang Pao 方苞 (T. 靈皋 H. 望溪). A.D. 1678-1749. A native of Kiangnan, who graduated in 1699 as first chü jen and as chin shih in 1706. He devoted himself to a study of the Classics and of philosophical literature in general; but his name happening to be mentioned in a treasonable work written by a relative, he was arrested in 1711 and cast into prison. There he still managed to continue his work, and in 1713 his real merits were brought to light. He not only received a full pardon, but was at once made tutor to the Imperial princes. In 1735 he was appointed to assist in editing works for the Imperial Library, and his advice was much sought by the Ministers of the day. In 1737 he became Vice President of the Board of Rites, but not agreeing with his colleagues he soon resigned on the plea of ill-health. In 1742 he finally retired from official life and spent his remaining years in study. His collected writings were published under the title of 望溪集, and he himself was popularly known as 方侍郞.
# A Chinese Biographical Dictionary/Fei Ch'ang-fang

​559 Fei Ch'ang-fang 費長房. A native of Ju-nan in Honan, who lived during the Han dynasty and studied the art of magic under Hu Kung. On taking leave of his master, the latter presented him with a bamboo rod upon which he could traverse immense distances in a few moments; also with a charm, consisting of two lines of verse relating to the magic rod. Fei, who thought that he had been absent from home for a few days only, found that some ten or fifteen years had in reality elapsed since his departure. On laying down his staff, he discovered that ​it was a dragon. From this time forward he had control over all the powers of darkness, and in the course of one day he was seen at places many thousands of leagues apart. Having subsequently lost the charm given him by his master, he was attacked and slain by assembled demons.
# A Chinese Biographical Dictionary/Fei Hsin

​560 Fei Hsin 費信. Son of an official at 太倉 T'ai-ts'ang in Kiangsu, to whose duties he succeeded. Author of the 星槎勝覽, an account of four voyages made to the Indian Ocean by Imperial envoys during the first quarter of the fifteenth century.
# A Chinese Biographical Dictionary/Fang Ts'ung-chê

​557 Fang Ts'ung-chê 方從哲 (T. 中涵). Died A.D. 1628. Graduating as chin shih in 1583, he soon withdrew from public life. But the fame of his culture reaching the Emperor's ears, he was by private Decree made a Vice President of the Board of Civil Office in spite of his protests; and in 1613 he became a Grand Secretary. He succeeded Yeh Hsiang-kao as Prime Minister; and finding remonstrances useless, he made friends with the eunuchs and allowed the Emperor to neglect his duties. Of the three ​factions of Ch'i, Ch'u, and 浙 Chê, which fought for place and so threw the Emperors into the hands of the eunuchs, the first was led by one of his own followers. The capture of Fu-shun by the Manchus in 1618, and a great defeat in 1619, failed to arouse the slothful Emperor who would not part with Fang; however in 1620 his rash recommendation of a sub-Director of the Banqueting Court, as physician to his dying master, compelled his retirement. Canonised as 文端. See Hsiung T'ing-p'i.
# A Chinese Biographical Dictionary/Fang Yao

​558 Fang Yao 方耀 (T. 照軒). A.D. 1834-1891. A native of the 普甯 P'u-ning District in Kuangtung. Entering the military service in 1851, he rose from the ranks, fighting against the T'ai-p'ing rebels in various provinces, to be Brigade General at Ch'ao-chou Fu, in which capacity he distinguished himself by the rigour, not to say brutality, of his measures for repressing local clan-fights and piracy. For these services he was rewarded with the Yellow Jacket. He established a College at Ch'ao-yang, and repaired the waterways so as to prevent floods. From 1877-79 he was acting Commander-in-chief at Hui-chou; but on the landing of the Japanese in Formosa, he returned to his previous post. In 1883 he was placed by a secret Decree in command of the forts at Bocca Tigris, and in 1885 he was gazetted Admiral. Known to foreigners as "General Fong."
# A Chinese Biographical Dictionary/Fei-yang-ku

​561 Fei-yang-ku 費揚古. Died A.D. 1701. Distinguished himself in the war of 1674-1679 in Kiangsi against Wu San-kuei's lieutenants, and was appointed Minister of the Council. In 1690 he accompanied the expedition against Galdan, whom he utterly defeated in 1696 at Chaomoto, to the north of the desert of Gobi, and was left in charge of the Khalka pastures. In 1697 Galdan committed suicide in despair and his followers submitted, all the country to the east of Mount Ortai becoming Chinese territory. Ennobled as Duke, and canonised as 襄壯 in 1732 he was admitted into the Temple of Worthies.
# A Chinese Biographical Dictionary/Fei-ying-tung

​563
# A Chinese Biographical Dictionary/Fei Yen

​562 Fei Yen 飛燕 (= Flying Swallow). 1st cent. B.C. A beautiful lady of humble extraction, who was taken as concubine by a man of wealth and taught to sing and to dance. She subsequently attracted the attention of the Emperor Ch'eng Ti of the Han dynasty, and was taken to the palace, being finally raised to the rank of Empress.
# A Chinese Biographical Dictionary/Fei Ti

​Fei Ti. See (Wei) Ts'ao Fang; (Wu) Sun Liang; (E. Sung) Liu Yeh; (N. Ch'i) Kao Yin; (L. T'ang) Li Ts'ung-k'o.
# A Dictionary of Music and Musicians/Farinelli (composer)

From volume 1 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Farinelli, Giuseppe

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

From volume 1 of the work.
​FANISKA. Cherubini's 21st opera; in 3 acts; words by Sonnleithner from the French. Produced at the Kärnthnerthor Theatre, Vienna, Feb. 35, 1806.
# A Dictionary of Music and Musicians/Fantasia

From volume 1 of the work.
​FANTASIA is a term of very respectable antiquity as applied to music, for it seems to be sufficiently established by both Burney and Hawkins in their Histories that it was the immediate predecessor of the term Sonata, and shares with the term Ricercar the honour of having been the first title given to compositions expressly for instruments alone. It seems itself to have been a descendant of the madrigal; for when madrigals, accompanied as they commonly were by instruments playing the same parts with the voices, had to a certain extent run their course as the most popular form of chamber compositions, the possibility of the instruments playing the same kind of music without the voices was not far to seek. Hawkins remarks that the early Fantasias 'abounded in fugues and little responsive passages and all those other elegances observable in the structure and contrivance of the madrigal.' They were written for combinations of various instruments, such as a 'Chest of Viols,' and even for five 'Cornets' of an ancient kind, seemingly something like a family of modern serpents. There are examples of this kind by very ancient English composers, and some also for the 'Virginals' by Bird and Gibbons in 'Parthenia.' They seem to have been a very dry species of composition, and Dr. Burney quotes Simpson's 'Compendium' to the intent that in the year 1667 'this style of music was much neglected because of the scarcity of auditors that understand it, their ears being more delighted with light and airy music.'
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Farinelli (opera)

From volume 1 of the work.
​FARINELLI. A serio-comic opera in 2 acts; words by C. Z. Barnett, music by John Barnett; produced at Drury Lane Feb. 8, 1839, Balfe acting Farinelli, and being forced by hoarseness to leave off at end of 1st act.
# A Dictionary of Music and Musicians/Faning, Eaton

[ W. B. S. ]
# A Dictionary of Music and Musicians/Farandole

​FARANDOLE. A national Provençal dance. No satisfactory derivation has been given of the name. Diez ('Etymologisches Wörterbuch der Romanischen Sprachen') connects it with the Spanish Farandula, a company of strolling players, which he derives from the German fahrende. A still more unlikely derivation has been suggested from the Greek φάλαγξ and δουλος, because the dancers in the Farandole are linked together in a long chain. The dance is very probably of Greek origin, and seems to be a direct descendant of the Cranes' Dance, the invention of which was ascribed to Theseus, who instituted it to celebrate his escape from the Labyrinth. This dance is alluded to at the end of the hymn to Delos of Callimachus: it is still danced in Greece and the islands of the Ægean, and may well have been introduced into the South of France from Marseilles. The Farandole consists of a long string of young men and women, sometimes as many as a hundred in number, holding one another by the hands, or by ribbons or handkerchiefs. The leader is always a bachelor, and he is preceded by one or more playing the galoubet, i.e. a small wooden flute-à-bec, and the tambourin. [See vol. iv. p.55.] With his left hand the leader holds the hand of his partner, in his right he waves a flag, handkerchief, or ribbon, which serves as a signal for his followers. As the Farandole proceeds through the streets of the town the string of dancers is constantly recruited by fresh additions. The leader (to quote the poet Mistral) 'makes it come and go, turn backwards and forwards … sometimes he forms it into a ring, sometimes winds it in a spiral, then he breaks off from his followers and dances in ​front, then he joins on again, and makes it pass rapidly under the uplifted arms of the last couple.' The Farandole is usually danced at all the great feasts in the towns of Provence, such as the feast of Corpus Domini, or the 'Coursos de la Tarasquo,' which were founded by King Réné on April 14, 1474, and take place at Tarascon annually on July 29. In the latter the Farandole is preceded by the huge effigy of a legendary monster—the Tarasque—borne by several men and attended by the gaily dressed 'chevaliers de la Tarasque.' The music of the Farandole is in 6-8 time, with a strongly accentuated rhythm. The following is the traditional 'Farandoulo dei Tarascaire' of Tarascon:—
The Farandole has occasionally been used for less innocent purposes than that of a mere dance: in 1815 General Ramel was murdered at Toulouse by the infuriated populace, who made use of their national dance to surround and butcher him.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Farce

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

From volume 1 of the work.
​FANTASIESTÜCK. A name adopted by Schumann from Hoffmann to characterise various fancy pieces for pianoforte, alone and with other instruments (P.F. solo, op. 12, 111; with Clarinet, op. 73; with Violin and Cello, op. 88). They are on a small scale, but several of them of considerable beauty.
# A Compendium of Irish Biography/Boyse, Samuel

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​Boyse, Samuel, author of Tears of the Muses, and other poems, was born in Dublin, of respectable parents, in 1708. At eighteen he was sent to study at a Scotch university, where unhappily he contracted habits of intemperance, and made an improvident marriage. He had brilliant abilities, gathered round him many friends, and secured several powerful patrons. His poems suited the taste of the age. Nothing, however, could redeem him from a vicious and debased course of life. He died in London, May 1747, aged 38, and was committed to a pauper's grave.