lasso, light, strong rope, usually with a smooth, hard finish, made of a fine quality of hemp or nylon. It is used primarily for catching large animals such as cattle and horses. Horsehair or rawhide lassos were formerly common in America, but they have almost completely given way to the hemp and nylon ropes, which are far more efficient roping tools. The rope varies in length from 35 to 50 ft (11-15 m). At one end of the rope is a running knot or a metal ring by means of which a loop or noose is made. The loop is thrown, from as far away as 30 ft (9 m), around the horns or the feet of an animal and drawn tight. The lasso was invented by Native Americans, who used it effectively in war against the Spanish invaders. In the W United States and in parts of Latin America the lasso is a part of the equipment of a cattle herder. To use it on horseback requires great skill of the rider and his horse—the pull of the captured animal may throw the rider's horse, or the horse or rider may become entangled in the rope. The lasso is often called a lariat; the term lariat is applied also to a rope used in picketing, or tethering, animals.

Plaza Lasso, Galo, 1906-87, president of Ecuador (1948-52) and secretary-general of the Organization of American States (OAS; 1968-75), b. New York City. He served (1944-46) as Ecuadorian ambassador to the United States and was a signer of the Charter of the United Nations. A liberal democrat and an expert in mechanized agriculture, as president he forwarded the agricultural development of Ecuador. Bananas, coffee, and cacao exports reached record heights. In spite of chronic political turbulence, Plaza brought a measure of economic prosperity to the country; he was the first constitutionally elected president in 28 years to complete his term. He later served as a UN mediator in Lebanon (1958), the Congo (1960), and Cyprus (1964-65). As secretary-general of the OAS, he earned a reputation for vigorous leadership.

Lasso, Orlando di, 1532-94, Franco-Flemish composer, b. Mons, also known as Orlandus Lassus or Roland de Lassus. Lasso represents the culmination of Renaissance musical art. At age 12, he entered the service of Ferrante Gonzaga, viceroy of Sicily. Thereafter, he worked variously in Naples (1550-53), Rome (1553-54), and Munich (1556-94). In 1570 he was raised to a hereditary rank of nobility by Emperor Maximilian II, and in 1574 he became one of the very few musicians to receive a papal knighthood. Lasso brought Flemish polyphony to its highest development in the Renaissance and distilled in his music the best elements of European music of his time. His more than 2,000 works in every form known to his day—masses, motets, French chansons, Italian madrigals, German lieder, and others—make him one of the most versatile and cosmopolitan composers in history. In contrast to the restrained mystical style of Palestrina, Lasso's music is vigorous, often passionate and earthy. Many of his love songs were set to poems by Petrarch and other poets. Undisputed master of the motet, he showed his skill at its richest in the Magnum opus musicum (pub. 1604), a selection of 516 sacred motets. His best-known works are his Penitential Psalms of David (c.1560; pub. 1584) and his last work, Lagrime di San Pietro (1594), completed three weeks before he died.

or Orlando di Lasso or Roland de Lassus

(born 1530/32, Mons, Spanish Hainaut—died June 14, 1594, Munich) Flemish composer. He began as a choirboy (with such a beautiful voice that he is said to have been kidnapped to sing elsewhere), and his first known position was in service to the Gonzaga family in Italy (1544). After 1556 he was based in Munich as kapellmeister to the duke of Bavaria, but he pursued an international career, traveling in Italy, Germany, Flanders, and France. He wrote more than 1,200 works, in every contemporary style and genre, sacred (including some 60 masses and 500 motets) and secular (including hundreds of madrigals and chansons), his attention to the correspondence of music and words being especially remarkable. Because of his range of styles (he always kept up with fashion) and because his works were printed widely during and after his lifetime, he influenced many composers and is regarded as one of the greatest masters of his century.

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