See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

WILLIAM See also:

• JACKSON
• JACKSON, ANDREW (1767-1845)
• JACKSON, CYRIL (1746-1819)
• JACKSON, FREDERICK GEORGE (186o– )
• JACKSON, HELEN MARIA (1831–1885)
• JACKSON, MASON (c. 1820-1903)
• JACKSON, THOMAS (1579-1640)
• JACKSON, THOMAS JONATHAN (1824-1863)
• WILLIAM JACKSON (1730-1803)

JACKSON (1730-1803)  , See also:

• ENGLISH

English musician, was See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn at See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter on the 29th of May 1730 . His See also:

• FATHER

father, a See also:

• GROCER

grocer, bestowed a liberal See also:

• EDUCATION

education upon him, but, on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the lad's strong predilection for See also:

• MUSIC

music, was induced to See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place him under the care of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• SILVESTER

Silvester, the organist of Exeter See also:

• CATHEDRAL

Cathedral, with whom he remained about two years . In 1748 he went to See also:

• LONDON

London, and studied under John Travers, organist of the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king's See also:

• CHAPEL

chapel . Returning to Exeter, he settled there as a teacher and composer, and in 1777 was appointed subchanter, organist, See also:

• LAY

lay-See also:

• VICAR (Lat. vicarius, substitute)

vicar and See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the choristers of the cathedral . In 1755 he published his first See also:

• WORK

work, Twelve Songs, which became at once sichord, was a failure . His third work, Six Elegies for three voices, preceded by an Invocation, with an See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

Accompaniment, placed him among the first composers of his See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . His See also:

• FOURTH

fourth work was another set of Twelve Songs, now very scarce; and his fifth work was again a set of Twelve Songs, all of which are now forgotten . He next published Twelve See also:

• HYMNS

Hymns, with some See also:

• GOOD, JOHN MASON (1764-1827)

good remarks upon that See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, although his precepts were better than his practice . A set of Twelve Songs followed, containing some good compositions . Next came an See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

Ode to See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

Fancy, the words by Dr See also:

• WARTON, JOSEPH (1722-1800)
• WARTON, THOMAS (1728-1790)
• WARTON, THOMAS (c. 1688-1745)

Warton . Twelve Canzonets for two voices formed his ninth work; and one of them—" See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

Time has not thinned my Flowing See also:

• HAIR (a word common to Teutonic languages)

Hair "—See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long held a place at public and private concerts . His tenth work was Eight Sonatas for the See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

Harpsichord, some of which were novel and pleasing .

He composed three dramatic pieces,—Lycidas (1767), The See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord of the See also:

• MANOR

Manor, to See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General See also:

• BURGOYNE, JOHN (1722-1792)
• BURGOYNE, SIR JOHN FOX

Burgoyne's words (1780), and The Metamorphoses, a comic See also:

• OPERA (Italian for " work ")

opera produced at See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane in 1783, which did not succeed . In the second of these dramatic See also:

• WORKS

works, two airs—" Encompassed in an See also:

• ANGEL

Angel's See also:

• FORM (Lat. forma)

Form " and " When first this Humble Roof I knew "—were See also:

• GREAT

great favourites . His See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church music was published after his See also:

• DEATH

death by See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James Paddon (182o); most of it is poor, but " See also:

• JACKSON
• JACKSON, ANDREW (1767-1845)
• JACKSON, CYRIL (1746-1819)
• JACKSON, FREDERICK GEORGE (186o– )
• JACKSON, HELEN MARIA (1831–1885)
• JACKSON, MASON (c. 1820-1903)
• JACKSON, THOMAS (1579-1640)
• JACKSON, THOMAS JONATHAN (1824-1863)
• JACKSON, WILLIAM (1730-1803)

Jackson in F " was for many years popular . In 1782 he published See also:

• THIRTY

Thirty Letters on Various Subjects, in which he severely attacked canons, and described See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• BIRD

Bird's Non nobis Domine as containing passages not to be endured . But his anger and contempt were most strongly expressed against catches of all kinds, which he denounced as barbarous . In 1791 he put forth a pamphlet, Observations on the See also:

• PRESENT

Present See also:

• STATE
• STATE, GREAT OFFICERS OF

State of Music in London, in which he found See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault with everything and everybody . He published in 1798 The Four Ages, together with Essays on Various Subjects,—a work which gives a favourable See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of his See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and of his See also:

• LITERARY

literary acquirements . Jackson also cultivated a See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for landscape See also:

• PAINTING

painting, and imitated, not unsuccessfully, the style of his friend See also:

• GAINSBOROUGH
• GAINSBOROUGH, THOMAS (1727-1788)

Gainsborough . He died on the 5th of See also:

• JULY

July 1803 .