��Musick,' 1669; 'Choice Ayres, Songs and Dia- logues,' 1676-84; and 'The Theater of Music, 1 1687; and eight three-part vocal compositions by him (including ' Ne'er trouble thyself at the times or their turning,' reprinted in some modern collections) in 'The Musical Companion,' 1667. Instrumental compositions by him are printed in 'Courtly Masquing Ayres,' 1662; 'Musick's Delight on the Cithern,' 1666; 'Apollo's Ban- quet,' 1669; 'Musick's Handmaid,' 1678 (re- printed in J. S. Smith's 'Musica Antiqua'); and Greeting's 'Pleasant Companion,' 1680. In several of these is 'A Dance in the Play of Macbeth,' evidently written for an earlier version than Davenant's. 1 The library of the Sacred Harmonic Society contains the autograph MS. of a ' Consort of ffoure Parts ' for viols, containing six suites, each consisting of a fantazia, courante, ayre and saraband, which Eoger North (1728) tells us was ' the last of the kind that hath been made.' Lock died in August 1677. He is said to have been buried in the Savoy, but the fact cannot be verified, the existing registers extend- ing no further back than 1680. Purcell com- posed an elegy on his death, printed in ' Choice Ayres' etc., Book II, 1689. A portrait of him is in the Music School, Oxford. [W.H.H.]
LOCKEY, CHARLES, son of Angel Lockey of Oxford, was admitted a chorister of Magdalen College, April I, 1828, and remained so until 1836, when he went to Bath to study under Edward Harris. In 1842 he became a pupil of Sir George Smart and lay clerk of St. George's Chapel, Windsor. In 1843 he was appointed vicar choral of St. Paul's Cathedral. In 1846 he was engaged for the Birmingham Festival and allotted the tenor song ' Then shall the righteous,' in the first performance of ' Elijah.' On hearing him rehearse the song, Mendelssohn immediately requested him also to sing 'If with all your hearts,' which had before been assigned to another singer. ' A young English tenor,' says the com- poser, 2 ' sang the last air so very beautifully that I was obliged to collect myself to prevent my toeing overcome, and to enable me to beat time steadily.' In April 1 848 Lockey tvas appointed a gentlemen of the Chapel Royal. He married May 24, 1853, Miss Martha Williams, contralto einger. In 1859 an affection of the throat deprived him of his voice and compelled his retirement. [W.H.H.]
LOCRIAN MODE (Lat. Modus Locrius, Modus Hyperceolius). The Eleventh Ecclesias- tical Mode : a tonality which can scarcely be said to have any real existence as it is uni- versally discarded, in practice, on account of its false relation of Mi contra Fa though, in theory, it necessarily takes its regular place in the series. [See Mi CONTRA FA.]
Theoretically, the Final of the Locrian Mode is; B. Its compass, in the Authentic form, ranges between that note, and its octave above; and
1 Pepys, who from Nov. 5, 1661. to Dec. 21, 1668. saw ' Macbeth per- formed seven times, mentions (April 19, 1067; the 'variety of dancing and ii 1 1 1- irk ' In it.
- Letter of Aug. 26, 1846.
its semitones lie between the first and second, and third and fourth degrees. Its Dominant is G, (F being inadmissible, by reason of its for- bidden relation with the Final,) and its Mediant, D. Its Participants are E, and F ; its Conceded Modulations, C, and the A below the Final ; and its Absolute Initials, B, C, D, and G.
��Mode XI. Med. Part. Part. Dom.
��In its Flagal, or Hypolocrian form, (Mode XII,) its compass lies between F and the F above ; and its semitones fall between the fourth and fifth and the seventh and eighth degrees. Its Final is B ; its Dominant, E ; and its Mediant, D. Its Participants are G, and C ; its Conceded Modulations, A, and the upper F ; and its Abso- lute Initials, G, A, B, C, D, and E.
��Mode XII Fin. Part. Med. Dom.
�� ��It will be observed that the actual notes of Modes XI and XII correspond, exactly, with those of Modes IV and V. The reason why the two former are discarded, and the two latter held in good repute, is this. Mode IV, being Plagal, is subject to the ' Arithmetical Division' ; i.e. it consists of a Perfect Fourth, placed below a Perfect Fifth. But, Mode XI is Authentic ; and, by virtue of the ' Harmonic Division,' consists of a Quintet, falsa, placed below a Tritonus both of which intervals are forbidden, in Plain Chaunt. Again, Mode V, being Authentic, and therefore subject to the ' Harmonic Division,' resolves itself into a Perfect Fifth, below a Perfect Fourth. But, Mode XII is Plagal ; and, under the 'Arith- metical Division,' exhibits a Tritonus, below a Quintet falsa. [See MODES, THE ECCLESIASTICAL.]
A very few Plain Chaunt Melodies, and Poly- phonic Compositions, are sometimes referred to these rejected Modes: but, such cases are ex- ceedingly rare ; and it will generally be found that they are really derived, by transposition, from some other tonality. [W. S. R.]
LODER, EDWARD JAMES, son of John David Loder, born at Bath, 1813, was in 1826 sent to Frankfort to study music under Ferdinand Hies. He returned to England in 1828, and went back to Germany with the view of qualify- ing himself for the medical profession, but soon changed his mind and again placed himself under Ries. When he again came back to England he was commissioned by Arnold to compose the music for ' Nourjahad,' an old drama of his to which he had added songs, etc., to con- vert it into an opera, for the opening of the new English Opera House, then building. The opera was produced in July, 1834, and, notwithstand- ing very general admiration of the music, proved unattractive owing to the poverty of the libretto.