Scan 96
The New Encyclopedia of Music and Musicians, 1924
38 lines. Read by computer on 16 September 2026. Printed page 74. See the scan on archive.org.
1L. As an abbreviation, stands for left (as l. h., left hand); also, in the Tonic Sol-fa notation, for la (lah).
2La, Lah. See Solmization. G.
3Lacrymosa. The final stanza of the sequence Dies irae, which forms the second division of the Roman Catholic Requiem Mass, or a musical setting of it.
4Its text is
5Lacrymosa dies illa,
6Qua resurget ex favilla
7Judicandus homo reus;
8Huic ergo parce, Deus.
9Lament. An elegy or its musical setting; also any mournful song or piece; a plaint. G.
10Lamentations. A musical setting of the lessons from Lamentations that form part of the office of Tenebrae as used in the Roman Catholic Church on Thursday, Friday and Saturday of Holy Week. G.
11Lancers. See Dances. G.
12Ländler. See Dances. G.
13Language, Languid. In an organ-pipe, the shelf at the top of the foot which nearly covers it, leaving open only a narrow slit or wind-way through which the air is directed against the lip above. See Pipe and Organ.
14Both terms appear to be corruptions of the French languet.
15Lantum. An instrument shaped and played like a hurdy-gurdy, but fitted with small reeds, like those of the accordion, instead of strings.
16Lapideon. An instrument consisting of a graduated series of flints, so mounted on a frame as to be sounded by means of small hammers or mallets. It was devised about 1875 by M. Baudry. Also called stone-piano or stone-harmonicon.
17Large. See Notation. G.
18Largo. An indication of extremely slow tempo; see Terms of Performance. Also a work or movement in such tempo and in grave or solemn style. The diminutive larghetto means in a tempo rather faster than largo. G.
19Larynx. See Phonation and Vocalization.
20Laudi. Popular religious songs, prepared to be sung in unison or in simple 4-part settings by members of Italian fraternities called laudisti or laudesi. G.
21The laudisti appear at Florence as early as 1310 and by the 16th century were common everywhere in Italy. The first printed collection of their songs was issued in 1485 and other collections came out at intervals down to almost 1750. From about 1560 Neri utilized music of this sort (by G. Animuccia, Razzi, Santini, Lazzeri, etc.) in his services at S. Maria in Vallicella in Rome (see Oratorio). The words, as a rule, were in Italian (not Latin).
22Lauds. The second of the Canonical Hours (3 a. m.), usually combined with Matins. G.
23Lavolta. See Dances.
24Lay. In general, a song or ballad. Specifically, a long poem (lai) with recurrent refrain in old French usage or a similar form (leich) common with the Minnesinger and Meistersinger in Germany. G.
25Lay Vicar. In English cathedrals, one of those designated to sing in the choir, including both laymen and those in minor orders; also called vicar choral. In some places the lay vicars form a corporation.
26Lead. As a verb, to direct or conduct. As a noun, the first enunciation of a theme or subject; also the initiative or example supplied by a chief performer in any vocal or instrumental ensemble; also a cue or presa. G.
27Leader. In general, a director or conductor, as of a chorus or orchestra. Also, in an orchestra, the principal player among the first violins (concertmaster); in a military band, the principal cornettist; in a chorus, the head-singer in the upper part (soprano or tenor); in a chamber-group, the first violinist (or player on any other instrument put at the head of the group), etc. G.
28Leading. In harmony, denoting a tone or a chord that tends or leads toward the tonic; thus leading-chord, the dominant triad or seventh-chord, and leading-tone or note, the seventh degree of the scale (also called note sensible). G.
29Leading melody, in harmonic composition, the melody or voice-part that controls or dominates the structure; in simple forms usually the soprano (or other upper part), but in thematic passages any part or all in turn.
30Leading motive, see Leitmotif.
31Leap. Same as skip. Also, in piano-playing, a sudden transfer or spring from one note or chord to another, involving a lifting of the hand clear of the keys.
32Legato. See Terms of Performance. G.
33Legend. A name for an imaginative piece, usually instrumental, based upon or suggesting a lyric ballad or a romance.
34Leger, Ledger. See Notation.
35Leich. See Lay.
36Leitmotif, Leitmotiv. In dramatic music, a theme or figure, sometimes melodic, sometimes harmonic, indicating or symbolic of a personage, a situation, a thought or a sentiment, and recurring, either literally or in modification, when the original occasion of it is recalled or repeated. G.
37The term came into use in connection with the critiques and discussions of Wagner's operas about 1876, apparently introduced by Hans von Wolzogen. But the device thus named is traceable in composers long before Wagner. In essence, it is a special application of the tendency to make tonal expression particular and concrete rather than abstract (the tendency otherwise embodied in so-called program-music). In part, therefore, it is pictorial or at least definitely symbolic in character. But, as used by Wagner, it was more than this. It was not simply useful for momentary vividness of characterization, but enabled him to incorporate into his scheme of orchestral exposition the peculiar interest and architectonic value of thematic writing on a scale and in a form entirely unexampled before. Furthermore, the plasticity of his thematic method enabled him to impart to his motifs a singular vitality in that they grew and changed under fresh conditions
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