Scan 38
The New Encyclopedia Of Music And Musicians, 1929
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1tended to part-songs. The French equivalent of the Italian canzona, the German lied and the English song. The diminutive is chansonette. The term is now sometimes applied specifically to a salon-song of popular type. G.
3A composer of chansons is a chansonnier.
5Chant. In general, a song of any kind. Specifically, in ecclesiastical music, a form of musical declamation applied to a prose text, as of the Psalms. The distinctive feature is a monotonous recitation, but with certain inflections or other melodic developments according to custom. The term is most frequent for the form in vogue in the Anglican Church, but is often used for that of the Gregorian system. G.
7The typical Anglican chant is a 7-measure phrase, divided into two parts (one of 3 measures, the other of 4), each of which begins with a reciting-measure or recitation and passes into a rhythmical cadence (the first cadence being called the mediation). The reciting-measure may be prolonged to fit the text, but is not supposed to be shortened. The form is therefore essentially a rhythmical one, but with two possibilities of unrhythmical expansion. The setting is normally for four voices. The process of adapting a given text to the form is known as pointing. A double chant is one of twice the above length. A chant is changeable if it can be sung either in major or in minor.
9The Gregorian chant (as in a melody used over and over for successive verses) consists of two reciting-tones or recitations, preceded by an intonation, separated by a mediation and followed by a cadence, all these latter being melodic, but not strictly rhythmical. It is normally sung in unison.
11A collection of chants is called a chant-book.
13Melodic motion or progression that is even or on a monotone may be called chantwise.
15Chanter, Chaunter. In the bagpipe, the pipe with finger-holes on which melodies can be played; opposed to the drones. G (Chaunter).
17Chanterelle. In instruments of the lute- and viol-families, the string of highest pitch. G.
19Chantey. A sailors' work-song, used to accompany and even regulate action in hauling, lifting and the like.
21Chapel. See Cappella. G.
23Among many famous Chapels or musical establishments special distinction belongs to the Papal Chapel (in the Sistine Chapel) at Rome, the Imperial Chapel at Vienna, the Royal Chapel at Paris and the Chapel Royal at London, but at particular times various others have gained great importance. With many of them choir-schools (schola cantorum) have always existed.
25Character. In notation, any conventional mark, symbol or sign. Also a personage in a drama or opera.
27Also the sum of the qualities, properties and values in certain elements of artistic structure and effect that give them individuality as compared with each other and enable them to impart beauty and significance to musical expression or discourse. Character in this sense, as applied to factors in musical composition, is obviously parallel to 'meaning' as applied to the words of language. It may be predicated of tones, intervals, chords, tonalities, rhythmic or metric patterns, forms, etc.
29Tone-character may be synonymous with timbre or tone-color. The two may also be quite distinct, as when the character of the tonic of a scale is compared with the character of the dominant. In the same way intervals have physical character according as they are major, minor, etc., but also a distinct sort of character when occurring in varying relations of tonality.
31Chord-character may be regarded in the same way. It has its physical or technical side and it has what may be called its more aesthetic side, which becomes evident as triads, seventh-chords and their inversions and modifications are associated together in the harmonic apparatus of a tonality.
33The same line of analysis is applicable to the character of melodic figures, of forms of imitation, of modulations, of rhythmic and metric patterns, of many definite forms, etc. Each of these has certain physical aspects that can be defined and named. Each has also a character derived from relations with others of the same class, or even with some of another class, which can be felt, but which are not easily defined.
35It is largely in the perception and use of these character-values that musical development takes place, both in the advance of sensitiveness in the student or listener and in the power of creation in the composer or of representation in the performer.
37At times, also, emphasis has been laid upon an asserted character in particular keys (tonalities of particular pitches). This, however, is not obvious or generally accepted.
39Characteristic Piece. A term somewhat loosely applied, especially in piano-music, to pieces expressive or suggestive of a mood, sentiment, event or situation (and therefore emphasizing 'character' rather than form). See Program-Music. G.
41Characteristic Note, Tone. Same as leading-tone, under Scale.
43Chatzozerah. The long, straight trumpet of the ancient Hebrews, using for signaling and (at least in later times) in connection with the Temple ritual. It was probably always made of metal. Opposed to the curved shofar.
45It seems that this is the only Hebrew instrument of which we have an indisputable pictorial representation. It is figured on the Arch of Titus in Rome in commemoration of the capture of Jerusalem in 70 A. D.
47Check. Specifically, in piano-making, the projecting member of the key-action designed to catch the hammer as it rebounds after striking the string. G.
49In pipe-organs, a transverse bar under the keys of the pedal-keyboard designed to hold them immovable when not in use; a pedal-check.
51Chef. A leader or conductor, as chef d'attaque, concertmaster, chef de ballet, ballet-master, chef du chant, chorusmaster, and chef d'orchestre, orchestral conductor.
53Cheng. A Chinese reed-instrument, consisting of a gourd with a short mouthpiece and a series of 12-24 small bamboo-pipes fitted with free reeds, the sounding of the pipes being controlled by finger-holes in the pipes.
55The chance introduction of this instrument into Europe (by way of Russia) in the late 18th century seems to have led to the application of the free-reed principle in the harmonium, accordion, etc., as well as in the pipe-organ.
57Cherubic Hymn. In the Eastern Church, a hymn (or bidding) that is said to have been introduced by Justinian (6th cent.) and is sung before the Great Entrance in the Liturgy.
59It begins "Let us who mystically represent the Cherubim, now lay aside all worldly cares."
61Chest-Register, Chest-Tone, Chest-Voice. In vocalization, the form of tone-production or its
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