Queda claro que siempre puedes aprender algo en el momento más inesperado:

El Leitmotiv, del alemán, motivo conductor, es una figura musical introducida por Richard Wagner en sus óperas que consiste en un motivo musical que se asocia a una idea, acción o sentimiento y que mediante sus trasformaciones, uniones y concatenaciones, componen la estructura del drama wagneriano.

Al parecer el leitmotif era algo muy recurrente en la misica clásica:

Usage in classical music

Carl Maria von Weber was probably the first composer to make extensive use of leitmotifs. Indeed, the first use of the word "leitmotif" in print was by the critic F. W. Jähns whilst describing Weber's work, although this was not until 1871.

Beethoven made inventive use of a harmonic leitmotif in his late string quartets. The motif—which consists of a melody decending in pitch by a semitone, a minor third and another semitone—can be most easily heard in the final movement of his String Quartet in C-sharp minor, but also inverted in the Große Fuge and the opening of the String Quartet in A minor. Curiously, Beethoven's first usage of this motif appears as the opening statement in one his pre-Quartet experiments, the String Trio in C minor. Beethoven also employed motto themes. For example, in his Fifth Symphony, a particular melody is said to be representative of "fate".

The idea of the idée fixe was coined by Hector Berlioz in reference to his Symphonie Fantastique, a purely instrumental work that has a recurring melody representing the love of the central characters.

It is Richard Wagner, however, who is the composer most often associated with leitmotifs, and his operas make liberal use of them. His cycle of four operas, Der Ring des Nibelungen, uses dozens of leitmotifs, representing characters, things, or situations; while some of these leitmotifs occur in only one of the operas, many occur throughout the entire cycle. Wagner used the word "Grundthema" (basic idea) when speaking about his leitmotifs, although the first use of the term with reference to Wagner's music was in 1887 by H. von Wolzogen, the editor of the Bayreuther Blätter, in discussing Götterdämmerung.

Since Wagner, the use of leitmotifs has been taken up by many other composers. Richard Strauss used the device in many of his operas and several of his symphonic poems. The Russian composer Sergei Prokofiev made heavy use of leitmotifs in his work Peter and the Wolf, a musical story with narration; in it, each character is represented by a specific instrument in the orchestra, as well as an associated melodic theme.

Vía Notas de Fútbol, como decía al principio, este artículo no tiene nada que ver con el Leitmotiv, pero hay que decir que coincido plenamente con Ramón J. Flores