Scan 91
The New Encyclopedia Of Music And Musicians, 1929
50 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Occasionally the term has been used as a name for a movement in a smaller vocal work. G.
3Liceo. A name common in Italy for a music-school or conservatory, often with a personal name added, as the Liceo Rossini at both Pesaro and Bologna, the Liceo Marcello at Venice, etc.
5Lied. The German term corresponding in general to the English song, the French chanson (or romance), etc., but naturally associated with the several forms, topics and sentiments found in German song-literature, so that it has come to have a somewhat technical meaning. G.
7As to general class, a broad distinction lies between the volkslied or folk-song and the kunstlied or art-song, the latter being deliberately composed with the conscious use of technical refinements foreign to the artlessness of true folk-music. But the volksthümliches lied is an art-song composed more or less after the manner of the folk-song.
9As to treatment, a distinction is also made between a strophisches lied which uses the same melody over and over for successive stanzas, and the durchkomponiertes lied, in which fresh treatment is given to each stanza in turn.
11The history of the Lied in its highest development begins about 1760 with J. A. Hiller, J. F. Reichardt, J. A. P. Schultz and their circle, followed by the more brilliant work of Schubert, Loewe, Schumann, Franz and their successors.
13A chain of connected songs is known as a liederkreis or liederzyklus. A collection of songs is a liederbuch. A light play consisting of songs is a liederspiel (akin to the English ballad-opera and the French vaudeville). A choral society (usually of men's voices) for singing part-songs is a liederkranz or liedertafel (see below).
15Liederkranz, Liedertafel. Names used in Germany for clubs of men organized for the practice and promotion of part-singing. G.
17The enterprises usually cited as pioneers are the society founded by Zelter in Berlin in 1809 and that started about the same time by Nägeli in Switzerland. But in London the analogous Catch Club and Glee Club had been formed as early as 1761 and 1783 respectively.
19In Germany the movement had from the first a strongly patriotic side, arising in the depression during the Napoleonic campaigns and flourishing in the later national enthusiasm. In northern Germany the original plan was to include only professional musicians, while in the south the aim was broadly popular. In time the two movements coalesced, retaining a high degree of artistic quality, but affecting a wide circle of participants. Under the original names or that of Männergesangverein, with the more comprehensive organization known as the Deutscher Sängerbund, the institution is now spread throughout Germany and Austria, numbering its members by tens of thousands, and similar societies are found in many other countries where Germans have settled.
21The parallel development in England has been extensive, but is not organized and unified. In France the society of the Orphéonistes, dating from about 1835, has the same general purpose and has had wide diffusion in many cities and towns.
23Ligature. See Notation. Sometimes also applied to a group of notes united by a slur and hence treated as a melodic unit or (in vocal music) sung to a single syllable. Also, in the clarinet and its relatives, the adjustable metal-band or clasp by which the reed is fastened to the mouthpiece. G.
25Lilt. A simple song with cheerful, tripping movement. Also the swing and figure of a melody.
27Limma. In Greek music, same as diatonic hemitone; see Hemitone and Apotome.
29Line. See Notation.
31Lining. One of the 12 slender strips of wood that are inserted as reinforcements in the joints where the ribs of a violin or similar instrument meet the belly and the back; sometimes called hoop-linings (from their curved shape).
33Lip. In organ-pipes, see Pipe. Also same as embouchure (adjustment in playing).
35Lira. Properly, the Italian name for the lyre, but applied also to the hurdy-gurdy (lira tedesca) and especially to a form of viol which was probably one of the steps toward the violin in its perfected shape.
37The lira da braccio had 7 strings on the fingerboard and 2 open strings, the lira da gamba 12 strings, with 2 open, and the lirone, archiviola da lira or accordo sometimes as many as 24 strings.
39Litany. In both the Eastern and Western Churches, a formula of prayer or intercession in which varied biddings or other statements of the persons invoked or the objects in view are constantly combined with responses that are either uniform throughout or but slightly varied. G.
41The evident purpose of the form is to make the prayer in some measure actually collective or congregational. In early liturgies five litanies are found in connection with the Mass. In the Greek Church two have been retained, but they have been omitted in the revised Roman use. But since the medieval period various litanies as separate services or in connection with special offices have been common. Out of this practice the Litany of the Anglican use was compiled in 1544, probably by Cranmer.
43The standard litanies of the Roman use are those of the Saints, of the Blessed Virgin (or of Loreto) and of the Most Holy Name of Jesus. These have given rise to many hymns.
45All forms of litany have received musical settings in different forms and styles, Gregorian, polyphonic and harmonic.
47Liturgy. A form or method of public worship, especially one that is prescribed and fully formulated. In the Greek and Roman Churches the term is often restricted to the form for the Communion or Lord's Supper (in the Roman Church usually called the Mass), and this usage is the regular one in technical treatises on liturgiology. Hence arise different meanings for the adjective liturgical—pertaining to public worship in general and in any form, or to such worship when conducted according to a prescribed and fixed form or to such a form for the Communion.
49The use of music in every type of Christian public worship has been universal from the earliest times, especially from the 4th century, when the Church advanced from obscurity into civic prominence under the lead of Constantine. The so-called Gregorian style was gradually evolved to supply settings for the formulae of stated services, while hymns and melodies for them developed for monastic and popular use. As liturgical usages were from time to time modified in both East and West, and as musical methods advanced, successive alterations took place in sacred music, sometimes according to tendencies within itself. But wherever fixed and uniform liturgical practice has been dominant the music associated with it has tended to preserve a somewhat stable character or to revert at intervals to that which is held to be traditional and hence consecrated by past usage. Against what is thought to be the excessive rigidity of this ideal, or some specific errors associated with it, there have been many reactions, all of which have been accompanied by special musical developments. See Church Music.
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