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

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Bourges, Clementine de

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Bourges, Jean

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Bourgault-Ducoudray, Louis

[ A. J. ]
# A Dictionary of Music and Musicians/Carmignani, Giovanna

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

​CARNEVAL, Scènes mignonnes sur 4 notes (the translation, on the printed copy, of the autograph heading, 'Fasching. Schwänke auf vier Noten f. Pfte von Eusebius'). A set of 21 piano pieces written by Schumann in 1834, and dedicated to Carl Lipinski. Each piece has its title. The allusions to the Carnival are obvious—'Pierrot,' 'Arlequin,' 'Pantalon et Colombine'; but the other subjects of which Schumann's mind was then full are brought in, such as 'Chiarina' (Clara Wieck), 'Estrelle' (Ernestine von Fricken), 'Chopin,' 'Paganini,' 'Papillons'; he himself is depicted under the two aspects of his mind as 'Florestan' and 'Eusebius,' and the events of a ball are fully delineated in the 'Valse noble' and 'Valse allemande,' 'Coquette' and 'Réplique,' 'Reconnaissance,' 'Aveu' and 'Promenade.' The whole winds up with a 'March of the Davidsbündler against the Philistines,' who are represented by the commonplace and domestic 'Grossvatertanz.' [See vol. i. p. 634.] The arrangement of the pieces, however, was made, and the title added, afterwards. Between numbers 8 and 9 are inserted the 'Sphinxes,' or 'Lettres dansantes,' that is, the 4 notes which in Schumann's mind formed the mystical basis of the whole.
Sphinxes
A.S.C.H.S.C.H.A. Lettres dansantes.
No. 1 is to be read as S (Es), C, H, A, the musical letters in the composer's name; Nos. 2 and 3 as As, C, H, and A, S, C, H, the letters forming the name of a town in Bohemia, the residence of a Baron von Fricken, to whose daughter Ernestine he was actually engaged at this time.
The Carneval was published in 1837. It was probably first played in England on June 17, 1856, when Mme. Schumann performed 16 of the 21 numbers.
[ G. ]
* ↑ This is the spelling of the original edition; in his letters Schumann generally, but not always, write Carnaval.
* ↑ These are never played by Mme. Schumann.
* ↑ Schumann's Jugendbriefe, Sept. 5, 1834, note.
# A Dictionary of Music and Musicians/Carnicer, Ramon

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

[ M. ]
# A Dictionary of Music and Musicians/Caron, Firmin

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Carman's Whistle

From volume 1 of the work.
​CARMAN'S WHISTLE, THE, an old English tune found in the Virginal books of Lady Nevill (1591) and Queen Elizabeth (1603-12), in both with harmony and variations by Byrd. ​The following is the air as there given (see Burney, 'History,' iii. 89):—
[App. p.579 "the first line is an introduction to the tune proper. In bar 3 of the first line for G, F, read A, G."]
[ G. ]
# A Dictionary of Music and Musicians/Carnaby, William

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

From volume 1 of the work.
​CARNAVAL DE VENISE. This popular air, which was heard by Paganini at Venice, when he visited the Queen of the Adriatic in 1816, 1824, and 1826, and which his magic bow has made a favourite tune all over the world, is the effusion of an unknown musician probably of the end of the last century. Several talented composers have embroidered it, and all pianists have played the brilliant variations and fantasias written upon it by Herz and Schulhoff. It has been even introduced on the lyric stage. Ambroise Thomas has composed very clever variations on the tune for the overture to his opera 'Le Carnaval de Venise,' and Victor Massé, in his 'Reine Topaze,' introduces an air varié upon it to the words
In England it was for long known to the words
The air, as given by Paganini, is as follows:—
[ G. C. ]
# A Dictionary of Music and Musicians/Caroso, Marco

From volume 1 of the work.
[ M. C. C. ]
# 1911 Encyclopædia Britannica/Xylophone

See also Xylophone on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​XYLOPHONE (Fr. xylophone; Ger. Xylophon, Strohfiedel or Holzharmonika; Ital. armonica de legno), a small instrument of percussion, of definite sonorousness, used in the orchestra to mark the rhythm. The xylophone consists of a series of little wooden staves in the form of a half cylinder and graduated in size. The staves, each of which represents a semitone, rest on two, three or four wooden bars, covered with straw and converging to form an acute angle. They are so arranged that each stave is isolated. In some models the staves are grouped in two rows, comprising the naturals and the accidentals. The xylophone is played with two little wooden hammers, and has a compass of two or three octaves. The quality of tone is inferior to that of the steel harmonica or glockenspiel. (K. S.)
# 1911 Encyclopædia Britannica/Y

See also Y on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​Y the twenty-fifth letter of the English alphabet, one of four variants (u, v, w, y) which have been developed out of one Greek symbol. It was taken into the Roman alphabet as a form distinct from V in the 1st century B.C., when it was desired to represent the sound of the Greek υ more accurately than could be done by the ordinary Roman alphabet. Many Greek words had been borrowed from Greek long before this and pronounced like genuine Latin words. Thus the proper name Πύρρος was borrowed as Burrus, Φρύγες as Bruges. But with the growth of literary knowledge this was felt to be a very inexact representation of the Greek sounds, and the words were respelt as Pyrrhus and Phryges. The philosopher Pythagoras is said to have regarded this letter as a symbol of human life (Servius, on Virgil, Aeneid vi. 136). To this there are various references in the Roman poets. Two lines of Persius (iii. 56–57) seem to throw some light upon the particular form of Y intended:
“Et tibi quae Samios dlduxit littera ramos:  surgentem dextro monstravit limite callem.”
These lines appear to imply that the letter took the form y, which can only be one of the oldest forms written from right to left. The straight road is the difficult, the deviating line is the easier path of vice. Anglo-Saxon took over the Roman Y with its Roman value of the “modified u” (ü), and employed it accordingly for the sound which arose from a u sound under the influence of an i in the following syllable: fyllan, “fill,” cp. Gothic fulljan, mus, “mouse,” plural mūs, from an earlier lost mūsis. The y sounds were often confused with i, whence, in modern English, mice.
The vowel use was the only use of the old symbol. The consonant Y is of a different origin. The early English g (always hard as in gig) was palatalized before e and i sounds into a consonant i (i̯) or y, which was written in Middle English with the symbol ȝ. With this letter also was written the original consonant i (i̯), which appears in Latin as i (j) in iugum, iuvencus. This Latin sound seems, at least initially, to have represented two originally separate sounds, for Greek represents the first sound of iugum by ζ (ζυγόν) while in other words it represents a i̯ (y) of other languages by the “rough breathing” (h or ‛): ἁγνός, “holy,” is the same word as the Sanskrit yajnas. The English words that correspond etymologically to iugum and iuvencus are “yoke” and “young.” In Northern English the symbol ȝ survived longer than in the southern part of the island, and in Scottish documents of the 16th century was confused with z. From this cause various Scottish names that were never pronounced with z are so spelt, as Menzies (Mengies), Dalziel, Cadzow. In others like Mackenzie, z is now universally pronounced, though as late as the middle of the 18th century Lord Karnes declared that to hear Mackenzie pronounced with a z turned his stomach.  (P. Gi.)
# 1911 Encyclopædia Britannica/Xiphilinus, Joannes

See also John Xiphilinus on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​XIPHILINUS, JOANNES, epitomator of Dio Cassius, lived at Constantinople during the latter half of the 11th century A.D. He was a monk and the nephew of the patriarch of Constantinople of the same name, a well-known preacher (Migne, Patrologia Graeca, cxx.). The epitome (ἐκλογαί) of Dio was prepared by order of Michael Parapinaces (1071–1078), but is unfortunately incomplete. It comprises books 36–80, the period included being from the times of Pompey and Caesar down to Alexander Severus. In book 70 the reign of Antoninus Pius and the early years of Marcus Aurelius appear to have been missing in his copy, while in books 78 and 79 a mutilated original must have been used. Xiphilinus divided the work into sections, each containing the life of an emperor. He omitted the name of the consuls and sometimes altered or emended the original. The epitome is valuable as preserving the chief incidents of the period for which the authority of Dio is wanting.
See H. Reimar's edition of Dio Cassius, ii.; J. Melber's Dio in Teubner series; C. Wachsmuth, Einleitung in das Studium der alten Geschichte (1895); W. Christ, Geschichte der griechischen Litteratur (1808).
# 1911 Encyclopædia Britannica/Xylander, Guilielmus

See also Guilielmus Xylander on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​XYLANDER, GUILIELMUS (Wilhelm Holtzman, according to his own spelling) (1532-1576), German classical scholar, was born at Augsburg on the 26th of December 1532. He studied at Tübingen, and in 1558, when in a state of abject poverty (caused, according to some, by his intemperate habits), he was appointed to succeed Micyllus (Molshem, Molseym or Molsheym) in the professorship of Greek at Heidelberg, which he exchanged for that of logic (publicus organi Aristotelii interpres) in 1562. He died at Heidelberg on the 10th of February 1576. Xylander was the author of a number of important works, among which his Latin translations of Dio Cassius (1558), Plutarch (1560-1570) and Strabo (1571) deserve special mention. He also edited (1568) the geographical lexicon of Stephanus of Byzantium; the travels of Pausanias (completed after his death by F. Sylburg, 1583); the Meditations of Marcus Aurelius (1558, the editio princeps based upon a Heidelberg MS. now lost; a second edition in 1568 with the addition of Antoninus Liberalis, Phlegon of Tralles, an unknown Apollonius, and Antigonus of Carystus—all paradoxographers); and the chronicle of George Cedrenus (1566). He translated the first six books of Euclid into German with notes, the Arithmetica of Diophantus, and the De quattuor mathematicis scientiis of Michael Psellus into Latin.
# 1911 Encyclopædia Britannica/Xylene

See also Xylene on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​XYLENE, or Dimethyl Benzene, C$_6$H$_4$(CH$_3$)$_2$. Three isomeric hydrocarbons of this formula exist; they occur in the light oil fraction of the coal tar distillate, but they cannot be separated by fractional distillation owing to the closeness of their boiling points. The mixture can be separated by shaking with sulphuric acid, whereupon the ortho and meta forms are converted into soluble sulphonic acids, the para form being soluble only in concentrated acid; the ortho and meta acids may be separated by crystallization of their salts or sulphonamides. Ortho-xylene is obtained from ortho-bromtoluene, methyl iodide and sodium as a colourless mobile liquid boiling at 142°, melting at -28°, and having a specific gravity of 0.8932 at 0°. Oxidation by potassium permanganate gives phthalic acid; whilst chromic acid gives carbon dioxide and water. Meta- or iso-xylene, the most important isomer, may be prepared by nucleus-synthetic reactions, or by distilling mesitylenic acid, C$_6$H$_3$(CH$_3$)$_2$CO$_2$H, an oxidation product of mesitylene, C$_6$H$_3$(CH$_3$)$_3$, which is produced on the condensation of acetone, with lime; this reaction is very important, for it orientates meta-compounds. It boils at 139°, melts at -54°, and has a specific gravity of 0.8812. Para-xylene is obtained when camphor is distilled with zinc chloride, but it is best prepared from para-brom-toluene or dibrombenzene, methyl iodide and sodium. Dilute nitric acid oxidizes it first to para-toluic acid and then to terephthalic acid. It boils at 138°, melts at 15°, and has a specific gravity of 0.8801 at 0°.
# 1911 Encyclopædia Britannica/Xystus

See also Xystus (architectural term) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​XYSTUS, the Greek architectural term for the covered portico of the gymnasium, in which the exercises took place during the winter or in rainy weather; this was known as the ξυρτὁς δρόμος, from its polished floor (ξύειν, to polish). The Romans applied the term to the garden walk in front of the porticoes, which was divided into flower beds with borders of box, and to a promenade between rows of large trees.
# 1911 Encyclopædia Britannica/Ya'qūbī

See also Ya'qubi on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​ YA'QŪBĪ [Ahmad ibn abl Ya'qub ibn Ja'far ibn Wahb ibn Waḍiḥ] (9th century), Arab historian and geographer, was a great-grandson of Waḍiḥ, the freedman of the caliph Manṣur. Until 873 he lived in Armenia and Khorasan; then he travelled in India, Egypt and the Maghrib, where he died in 891. His history is divided into two parts. In the first he gives a comprehensive account of the pre-Mahommedan and non-Mahommedan peoples, especially of their religion and literature. For the time of the patriarchs his source is now seen to be the Syriac work published by C. Bezold as Die Schatzhöhle. In his account of India he is the first to give an account of the stories of Kalila and Dimna, and of Sindibad (Sinbad). When treating of Greece he gives many extracts from the philosophers (cf. M. Klamroth in the Zeitschrift der deutschen morgenländischen Gesellschaft, vols. xl. and xli.). The second part contains Mahommedan history up to 872, and is neither extreme nor unfair, although he inherited Shi‘ite leanings from his great-grandfather. The work is characterized by its detailed account of some provinces, such as Armenia and Khorasan, by its astronomical details and its quotations from religious authorities rather than poets.
Edition by T. Houtsma (2 vols., Leiden, 1883). Ya‘qūbī’s geography, the Kitab id-Buldān, contains a description of the Maghrib, with a full account of the larger cities and much topographical and political information (ed. M. de Goeje, Leiden, 1892).
(G. W. T.)
# 1911 Encyclopædia Britannica/Yablonoi

See also Yablonoi Mountains on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​YABLONOI, or Yablonovoi (“Apple Mountains,” known to the Mongols as Dynze-daban), a range of E. Siberia, stretching N.E. from near the sources of the river Kerulen (N.E. of Urga in N. Mongolia) to the bend of the river Olekma in 56° N., and forming the S.E. border ridge of the upper terrace of the great plateau of Central and E. Asia. Its summits reach altitudes of 5000–6000 ft., culminating in Mount Sokhondo (8040 ft.) near the Transbaikal-Mongolia frontier. The range serves as the water-parting between the streams which flow to the Pacific and those which flow to the Arctic Ocean, and is a dividing line between the Siberian and the Daurian flora. The passes have altitudes of 2000—3500 ft. The range is a continuation of the Kentei Mountains of Mongolia, but is not orographically connected with the Stanovoi Mountains, farther to the N.E., though the names Yablonoi and Stanovoi are commonly used alternatively. The latter are the S.E. border-range of the lower terrace and are connected with the Great Khingan Mountains.
# 1911 Encyclopædia Britannica/Yachow-fu

See also Ya'an on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​YACHOW-FU, a prefectural city in the province of Sze-ch‛uen, China, in 30° N., 103° E.; pop. about 40,000. It is situated in a valley on the banks of the river Ya, where tea is grown, The town owes its importance to the fact that it stands at the parting of the tea and tobacco trade route to Tibet via Tachien-lu and the cotton trade route to west Yun-nan via Ningyuen-Fu. The city wall measures 2 m. in circumference, and is pierced by four gates. Yachow-Fu is first mentioned during the Chow dynasty (1122–255 B.C.).
# A Dictionary of Music and Musicians/Kind, Johann Friedrich

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/King's Band of Music, The

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

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

​KINDERMANN. See Reicher-Kindermann in Appendix.
# A Dictionary of Music and Musicians/Kiesewetter, Raphael

From volume 2 of the work.
​KIESEWETTER, Raphael Georg, Edler von Wiesenbrunn (uncle to Ambros the historian of music), Imperial councillor, and learned author on musical subjects, born at Holleschau in Moravia, Aug. 29, 1773; settled in Vienna in 1794. In 1816 he began to form a collection of scores of the old masters, and made his house a rendezvous for the first musicians of Vienna. There also during Advent, Lent, and Holy Week, a first-rate amateur choir performed the principal works of the old Italian composers, and of Bach, Handel, etc. He died Jan. 1, 1850, at Baden (Beethoven's Baden) near Vienna, but was buried in the cemetery at Vienna, 'vor der Währinger Linie.' He was ennobled for his services as an official in the Kriegsrath, taking his title from his estate. Innumerable societies elected him a member in acknowledgement of his services as a musician. He left his musical MSS. and his correspondence with musical men of letters to Alois Fuchs, and to the court library his invaluable collection of scores, with the condition that they should be kept together as the 'Fond Kiesewetter.'
That he was a most prolific writer the following list of his printed works will show.
   1. 'Die Verdienste der Niederländer am die Tonkunst' (received the gold prize-medal, Amsterdam 1828). 2. 'Geschichte der europaisch-abendländischen, das ist; unserer heutigen Musik' (Breitkopf & Härtel, 1834, 2nd ed. 1846). 3. 'Ueber die Musik der Neugriechen,' with remarks on ancient Egyptian and ancient Greek music; 3 treatises (ibid. 1828). 4. 'Guido von Arezzo,' life and works (Ibid. 1840). 5. 'Schicksale und Beschaffenheit des Weltlichen Gesanges,' from the early Middle Ages down to the discovery of the dramatic style and rise of opera (ibid. 1841). 6. 'Die Musik der Araber,' from original sources (Ibid. 1842). 7. Ueber das Leben, und die Werke Palestrina's,' a condensation of Baini's work left unpublished by Kandler; edited with preface and remarks (ibid, 1834). 8. 'Der neuen Aristoxenes zerstreute Aufsätze' (ibid. 1846). 9. 'Ueber die Octave des Pythagoras,' supplement to the preceding (Vienna 1848). 10. 'Catalog ueber die Sammlung der Partituren alter Musik,' etc. (Vienna 1847), with preface and appendix 'Gallerie der alten Contrapunctisten,' a selection from their works, chronologically arranged. Also about 50 scattered articles in different periodicais, reviews, etc.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Kiel, Friedrich

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/King's Theatre, The

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

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

From volume 2 of the work.
​KEY-NOTE. The note by which the key is named, and from which the scale commences: the Tonic. [See Key; Tonic.]
# A Dictionary of Music and Musicians/Nozze di Figaro, Le

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

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Nunc Dimittis

From volume 2 of the work.
​NUNC DIMITTIS. The first words of the Song of Simeon, occurring in the 29th, 30th, 31st and 32nd verses of the 2nd chapter of the Gospel of St. Luke. This canticle has been used at either Vespers or Compline from the earliest ages. It is mentioned in the Apostolical Constitutions (written about the beginning of the 5th century) and though St. Benedict does not order its use in his Rule (A.D. 530), Amalarius, writing early in the 9th century mentions it as in use in his own time, and English versions of it are extant as far back as the 14th century. It appears that in the most ancient times this hymn was sung at Vespers, of which service it still for part in the Greek Use. The Roman and Armenian Uses, however, appoint it to be sung at Compline, the solemn character of the hymn seeming more appropriate to the last service of the day. (It is worthy of note that the Armenian differs from the Western Use in having two distinct Offices of Compline, one for public, and the other for private use. The former contains neither Magnificat nor Nunc Dimittis, but the latter includes both canticles, thus resembling the Evening Office of the Anglican Church).
[ W. B. S. ]
# A Dictionary of Music and Musicians/Néron

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Nägeli, Johann Georg

From volume 2 of the work.
​NAGELI, Johann Georg, an eminent music publisher, and also a composer and litterateur, born at Zürich in 1768. He started his music business in his native town in 1792, and quickly issued editions of Handel, Bach (48 Preludes and Fugues, Art of Fugue) and other classics, large oblong folio, in a style of great clearness and beauty for the time. In 1803 he started the 'Repertoire des clavecinistes,' a periodical publication in which new works by Clementi, Cramer, Beethoven and others appeared. For Beethoven he published the three grand solo sonatas now known as op. 31, but which appeared without opus number, the first and 2nd in 1803 in Pt. 5 of the Repertoire, the 3rd in 1804 in Pt. 11. It is in connection with the 1st of the three that the circumstance occurred which will prevent Nägeli from being forgotten as long as Beethoven's sonatas are studied. He actually interpolated 4 bars into the 1st movement of that sonata, between the 28th and 27th bars from the end:—
Beethoven however must have pardoned this crime; for several of his later letters to Nägeli are couched in terms of affection, and he did his utmost to induce the Archduke Rodolph to subscribe to a volume of Nägeli's poems in 1824.
[ G. ]
# A Dictionary of Music and Musicians/Number

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

From volume 2 of the work.
​NUT. 1. Of the Violin (Fr. Sillet; Ger. Sattel). A slip of ebony or ivory (the former chiefly used) glued to the neck of the violin at the upper end of the fingerboard, and over which the strings pass. It is slightly raised above the level of the fingerboard, and serves to keep the strings from touching it except when pressed down by the finger. It existed in the old instruments which preceded the violin, and in them was ruder and larger.
2. Of the Bow (Fr. Hausse; Ger. Frosch). A piece of ebony or ivory, over which the hairs pass, attached to the end of the bow by a metal shank working in a groove cut in the bow. A screw working in the shank serves to tighten or slacken the hairs. The nut is slightly hollowed in the cheeks, and is accurately fitted to the stick by means of a metallic groove. The nut is as old as the bow itself.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Nænia

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

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

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

From volume 2 of the work.
[ F. G. ]