Scan 39
The New Encyclopedia Of Music And Musicians, 1929
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1result in which the vocal-chords vibrate fully and the tone is reinforced by the resonance of the chest-cavity (best exemplified in tones of low pitch); opposed to head-register, tone and voice. See Vocalization. G.
3Chest. See wind-chest, under Organ.
5Chest of Viols. The old name for a graduated set or 'consort' of viols (trebles, tenors and basses), so called because such sets were often made to be kept in a chest or closet. G.
7Chiavette. A system of clefs used in the 16th century to indicate certain transpositions of pitch similar to those now indicated by a change of key-signature. G.
9Chica. See Dances.
11Chiesa. In various expressions (with da or di), denoting for the church, that is, sacred; opposed to camera, for the chamber. So musica da chiesa, sonata da chiesa, etc.
13Chime. A set of bells; a peal or carillon; see Bell and Carillon. G.
15Chinese Crescent or Pavilion. See Crescent. G.
17Chin-Rest. An oval ebony plate commonly attached to the lower edge of a violin-body so as to fit under the chin of the player.
19Chirogymnast. Any apparatus for training the muscles used in keyboard-playing; see Chiroplast.
21Chiroplast. A device, invented by Logier in 1814, for holding the hand in keyboard-playing in a level position; also called wrist-guide.
23It was for a time emphasized as an aid to teaching and was imitated or modified by Stöpel, by Kalkbrenner (as 'guide-main') and by Herz (as 'dactylion'), as well as recalled in some later appliances.
25Chitarra, Chiterna. See Lute and Guitar. The diminutive is chitarrina and the augmentative chitarrone. For the latter, see bass-lute and theorbo under Lute. G.
27Choir. A group or company of singers; a chorus. Specifically, the singers of an organized choral society or those designated to sing in church-services; see Cappella. The term is also extended to the subdivisions of a large chorus (the first or second choir, the male or female choir, etc.) and to the sections of an orchestra (the string-choir, the brass-choir, etc.). From the fact that the space in front of the altar in a cathedral or church is where the singers are stationed that part of the building is technically known as the choir and the seats for the singers as choir-stalls. In other cases, where the choir is placed elsewhere, the term choir-gallery occurs. G.
29In the Anglican Church, the two sides of the choir are known as cantoris ('of the precentor'), on the left or north, and decani ('of the dean'), on the right or south.
31In the development of the liturgical system of the medieval Church the function of the choir was regarded as clerical or ministerial, so that the singers were either actually or virtually in orders. Hence came the usage of employing only men and boys. The Reformation Churches, however, tended to regard the choir more as a specialized branch of the congregation. Hence in many cases they have used choirs composed of both men and women.
33Choir-singing and choir-music make up the most conspicuous division of church-music. In the period beginning with the 15th century it was developed mostly in the a cappella and contrapuntal form (what is now often called 'the Palestrina style'). From the early 16th century the forms known as the motet and the anthem, often with organ-accompaniment, gradually became prominent, leading a century later to the church-cantata, especially as developed in the Lutheran Church. Choir-music in the Greco-Russian Church has had a highly characteristic evolution of its own, quite dissociated from the use of the organ.
35The trainer and director of a choir is called choir-master, choir-director, choir-leader, cantor or precentor. The word chorister properly means choirsinger, but is also applied to a leader. Where the choir is known as a chapel, the forms maestro di capella, maître de chapelle and kapellmeister are also used. A choir in which the soprano and alto parts are assigned to boys is often called a boy-choir. For choir-boys cathedrals and large churches often maintain a choir-school or maitrise under the direction of the choirmaster.
37Old spellings are quire, quirister.
39Choir-Organ. A division of the pipe-organ. See Organ. G.
41Choir-Pitch. See Pitch.
43Choragus, Choregus. One who leads a choir or chorus. G.
45Specifically, an official instituted at Oxford University in 1626 to direct musical exercises—an office now long obsolete. The term has occasionally been used at other academic institutions.
47Choral. Denoting that which pertains to a choir or chorus; as choral service, one at which all or most of the exercises are sung, choral society, one organized for the practice and performance of chorus-music, whether secular or sacred. For choral note, see Notation and Gregorian Music. A vicar choral is an ecclesiastic in minor orders assigned to duty as a singer.
49The terms choral fantasia or choral symphony denote instrumental works in which a chorus is used. A choral festival is one in the program of which chorus-music is prominent.
51Choral, Chorale. In Gregorian music, any part of the cantus or choir-exercises. In Protestant music, especially in the Lutheran and Reformed Churches, the musical setting of a metrical hymn or Psalm; a hymn-tune or psalm-tune, normally for the congregation.
53The original Protestant chorales were adapted from existing secular songs or drafted in similar style, adapted to metrical texts having a definite stanza-form and with various verse-patterns held together by rhyme-schemes. Their rhythm might be duple or triple (at first more often the latter). For a century or more considerable variety in the use of long and short notes continued. But in the 17th century it became customary to rearrange them mostly in notes of the same length, but with a long note or a pause at the end of each line or phrase. Though at first the tempo and style was energetic and perhaps brisk, it then became the usage to sing them slowly and massively. This came to be regarded as the characteristic chorale-style.
55Chorales were at first sung in unison. But parts were soon added, though for the choir rather than the congregation. The melody remained in the tenor till late in the 16th century, but was then gradually transferred to the treble or soprano.
57A collection of chorales is called a Choralbuch. As organ-music developed in the 17th century, chorale-preludes and interludes, chorale-elaborations and chorale-variations became common.
59As the church-oratorio and cantata developed in Germany, the chorale was almost always prominent, not only in supplying themes for choral treatment, but also more or less by itself, so that the congregation might join in the work.
61The traditional chorale of Germany and of the Ro-
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