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:

• SHIELD (0. Eng. scild, cf. Du. and Ger. Schild, Dan. Skjold; the origin is doubtful, but may be referred to the root seen in " shell " or " scale "; another suggestion connects it with Icel. skjalla, to clash, rattle; it is not connected with the Indo-Ger
• WILLIAM SHIELD (1748—1829)

SHIELD (1748—1829)  , See also:

• ENGLISH

English musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Swalwell, near See also:

• NEWCASTLE
• NEWCASTLE, DUKES OF

Newcastle, in 1748 . His See also:

• FATHER

father began to See also:

• TEACH [THATCH OR THACH], EDWARD (d. 1718)

teach him singing before he had completed his See also:

• SIXTH

sixth See also:

• YEAR

year, but died three years later, leaving him in 'See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of guardians, who made no See also:

• PROVISION (Lat. provisio)

provision whatever for continuing his musical See also:

• EDUCATION

education, for which he was thenceforward dependent entirely upon his own aptitude for learning, aided by a few lessons in thoroughbass which he received from See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Avison . Notwithstanding the difficulties inseparable from this imperfect training, he obtained See also:

• ADMISSION

admission in 1772 to the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra at the See also:

• ITALIAN

Italian See also:

• OPERA (Italian for " work ")

Opera in See also:

• LONDON

London, at first as a second See also:

• VIOLIN

violin, and afterwards as See also:

• PRINCIPAL

principal See also:

• VIOLA [Fr. viole, Ger. Bratsche, Ital. viola, alto]

viola, and this engagement he retained for eighteen years . In the meantime he turned his serious See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to See also:

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

composition, and in 1778 produced his first English comic opera, The Flitch of See also:

• BACON
• BACON (through the O. Fr. bacon, Low Lat. baco, from a Teutonic word cognate with " back," e.g. O. H. Ger. pacho, M. H. Ger. backe, buttock, flitch of bacon)
• BACON, FRANCIS (BARON VERULAM, VISCOUNT ST ALBANS) (1561-1626)
• BACON, JOHN (1740–1799)
• BACON, LEONARD (1802–1881)
• BACON, ROGER (c. 1214-c. 1294)
• BACON, SIR NICHOLAS (1509-1579)

Bacon, at the Little See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre in the Haymarket, with so See also:

• GREAT

great success that he was immediately engaged as composer to Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden Theatre, for which he continued to produce English operas and other dramatic pieces in See also:

• QUICK

quick See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession until 1797,when he resigned his See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office, and devoted himself to compositions of a different class, producing a great number of very beautiful glees, some instrumental chamber See also:

• MUSIC

music, and other See also:

• MISCELLANEOUS

miscellaneous compositions . In 1817 he was made 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 royal music . He died in London on the 25th of See also:

• JANUARY

January 1829, and was buried in the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister at See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey . See also:

• SHIELD (0. Eng. scild, cf. Du. and Ger. Schild, Dan. Skjold; the origin is doubtful, but may be referred to the root seen in " shell " or " scale "; another suggestion connects it with Icel. skjalla, to clash, rattle; it is not connected with the Indo-Ger
• SHIELD, WILLIAM (1748—1829)

Shield's most successful dramatic compositions were Rosina, The Mysteries of the See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle, The See also:

• LOCK (from the O. Eng. loc.; the word appears, in different forms, in many Teutonic languages, but with such various meanings as " hole," Ger. Loch, " lid," Swed. lock, &c.; probably the original was a root meaning " to enclose ")
• LOCK, MATTHIAS

Lock and See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

Key and The . Castle of See also:

• ANDALUSIA, or ANDALUCIA

Andalusia . As a composer of songs he was in no degree inferior to his great contemporary Charles See also:

• DIBDIN, CHARLES (1745—1814)
• DIBDIN, THOMAS FROGNALL (1776—1847)
• DIBDIN, THOMAS JOHN (1771–1841)

Dibdin . Indeed The See also:

• ARETHUSA

Arethusa, The Heaving of the See also:

• LEAD
• LEAD (pronounced iced)

Lead and The See also:

• POST

Post See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain are as little likelyto be forgotten as Dibdin's Tom See also:

• BOWLING (Lat. bulla, a globe, through O. Fr. boule, ball)

Bowling or Saturday See also:

• NIGHT

Night at See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea . His vein of See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody was inexhaustible, thoroughly English in See also:

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

character and always conceived in the purest and most delicate See also:

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

taste, and hence it is that many of his airs are still sung at concerts, though the operas for which they were written have See also:

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

long been banished from the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . His Introduction to See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

Harmony (1794 and 1800) contains a great See also:

• DEAL

deal of valuable See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information; and he also published a useful See also:

• TREATISE

treatise, The Rudiments of Thoroughbass .