See also:

• CHORALE (from the Lat. chorales, sc. cantus; the final e is added to show the Ger. pronunciation choral)

CHORALE (from the See also:

• LAT

Lat. chorales, sc. cantus; the final e is added to show the Ger. See also:

• PRONUNCIATION (Lat. pronuntiatio, from pronuntiare, proclaim, announce, pronounce)

pronunciation choral)  , a See also:

• TERM

term in See also:

• MUSIC

music used by See also:

• ENGLISH

English writers to indicate the hymn-tunes composed or adopted for use in See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church by the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German reformers . German writers, however, apply the terms " Choral" and " Choralegesang," as See also:

• LUTHER, MARTIN (1483-1546)

Luther himself would apply them, to any See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody used in the church . It is thus the See also:

• EQUIVALENT

equivalent of See also:

• CANTO (from the Lat. cantus, a song)

canto See also:

• FERMO (anc. 1%irmum Picenum)

fermo; and the German rhymed versions of the biblical and other See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• CANTICLES

canticles, such as the Magnificat and the Te Deum, are set to curious corruptions of the corresponding Gregorian tunes, which adaptations the composers of classical German music called chorales with no more See also:

• SCRUPLE

scruple than they applied the name to tunes of See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular origin, German or See also:

• FOREIGN

foreign . The peculiarity of German See also:

• CHORALE (from the Lat. chorales, sc. cantus; the final e is added to show the Ger. pronunciation choral)

chorale-music, however, is that its use, and consequently much of its invention, not only arose in connexion with the See also:

• REFORMATION
• REFORMATION, THE

Reformation, by which the See also:

• LITURGY (Low Lat. liturgia; Gr. X€Zros, public, and Epyov, work; )Aetrovpy6s, a public servant)

liturgy of the church became " understanded of the See also:

• PEOPLE

people," but also that it belongs to a musical See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch in which symmetry of melody and See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm was beginning to assume See also:

• ARTISTIC

artistic importance . The growing sense of See also:

• FORM (Lat. forma)

form shown by some of Luther's own tunes (e.g . Vom See also:

• HIMMEL, FREDERICK HENRY (1765-1814)

Himmel hoch, da komm' ich her) soon advanced, especially in the tunes of Criiger, beyond any that was shown by folk-music; and it provided an invaluable See also:

• BULWARK (a word probably of Scandinavian origin, from bol or bole, a tree-trunk, and werk, work, in Ger. Bollwerk, which has also been derived from an old German bolen, to throw, and so a machine for throwing missiles)

bulwark against the See also:

• CHAOS

chaos that was threatening to swamp music on all sides at the beginning of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . By See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach's See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time all the poly-phonic instrumental and vocal See also:

• ART

art-forms of the 18th century were mature; and though he loved to derive the See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design as well as the details of a large See also:

• MOVEMENT

movement from the shape of the chorale tune on which it was based, he became quite See also:

• INDEPENDENT

independent of any aid from symmetry in the tune as raw material . The See also:

• CHORUS (Gr. xopbs)Z

chorus of his See also:

• CANTATA (Italian for a song or story set to music)

cantata Jesus See also:

• NUN (O. Eng. nunne, from Lat. nonnus, nonna, familiar terms for an old man or woman)

nun sei gepreiset is one of the most perfectly designed and quite the longest of movements ever based upon a chorale-tune treated phrase by phrase . Yet the tune is one of the most intractable in the See also:

• WORLD

world, though its most unpromising portion is the basis of the most impressive feature in Bach's design (the slow See also:

• MIDDLE

middle See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section in triple time) . The See also:

• NATIONAL

national See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the German chorale, and the See also:

• RECENT

recent See also:

• GREAT

great development of See also:

• INTEREST

interest in folk-music, together with the unique importance of Bach's See also:

• WORK

work, have combined to tempt writers on music to over-estimate the distinctness of the art-forms based upon the German chorale . There is really nothing in these art-forms which is not continuous with the universal practice of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint on a canto fermo . And it should never be forgotten that, however fascinating may be the study of the relation between artistic forms and the spirit of the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, no art can successfully See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express more of the spirit of the age than its own technical resources will admit .

Choral music in all ages has tended to consist largely of counterpoint on a canto fermo (see CONTRAPUNTAL FORMS) . Where there are not many canto fermos in See also:

• CONSTANT, BENJAMIN (1845-1902)

constant use in the church, composerswill be driven to use them rather unsystematically as See also:

• SPECIAL

special effects, and to rely for the most See also:

• PART

part on other artistic devices, though any use of melodies in See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long notes against quicker See also:

• COUNTER

counter-point will be aesthetically indistinguishable from counterpoint on a canto fermo . Thus See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel in his See also:

• ITALIAN

Italian and English See also:

• WORKS

works wrote no entire chorale movements, yet what is the passage in the " Hallelujah " chorus from " the See also:

• KINGDOM

kingdom of this world " to the end but a treatment of the second part of the chorale Wachet auf ? How shall we describe the treatment of the words " And their cry came up unto the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord " in the first chorus of See also:

• ISRAEL (Hebrew for " God strives " or " rules "; see Gen. xxxii. 28; and the allusion in Hosea xii. 4)

Israel in See also:

• EGYPT

Egypt, except as the treatment of a phrase of chorale or canto fermo ? Again, to return to the 16th century, what are the See also:

• HYMNS

hymns of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina but figured chorales ? In what way, except in the lack of symmetry in the Gregorian phrasing, do they differ from the contemporary setting by Orlando di See also:

• LASSO (LASSOS), ORLANDO (c. 1530-1594)
• LASSO (Span. lazo, snare, ultimately from Lat. laqueus, cf. " lace ")

Lasso, also a See also:

• ROMAN

Roman See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic, of the German chorale Voter unser See also:

• IM(K2+a2+h2—2 ah cos 0)

im Himmelreich ? In See also:

• MODERN

modern times the use of German chorales, as in Mendelssohn's oratorios and See also:

• ORGAN

organ-sonatas, has had rather the aspect of a revival than of a development; though the technique and spirit of See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms's See also:

• POSTHUMOUS

posthumous organ chorale-preludes is thoroughly modern and vital . One of the most important, and practically the earliest collection of " Chorales " is that made by Luther and Johann See also:

• WALTHER, BERNHARD (1430-15o4)

Walther (1496-1570), the Enchiridion, published in 1524 . Next in importance we may See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place the Genevan Psalter (1sted., See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg, 1542, final edition 1562), which is now conclusively proved to be the work of See also:

• BOURGEOIS
• BOURGEOIS, LEON VICTOR AUGUSTE (1851– )

Bourgeois . From this Sternhold and See also:

• HOPKINS, EDWARD WASHBURN (1857— )
• HOPKINS, ESEK (1718-18oz)
• HOPKINS, MARK (1802—1887)
• HOPKINS, SAMUEL (1721–1803)
• HOPKINS, WILLIAM (1793–1866)

Hopkins borrowed extensively (1562) . The psalter of C . See also:

• GOUDIMEL, CLAUDE

Goudimel (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1565) is another among many prominent collections showing the steps towards congregational singing, i.e. the restriction to " See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note-against-note " counterpoint (sc. See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony), and, in twelve cases, the assigning of the melody to the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble instead of to the See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor .

The first hymn-See also:

• BOOK

book in which this latter step was acted on throughout is See also:

• OSIANDER, ANDREAS (1498–1552)

Osiander's Geistliche Lieder . . . also gesetzt, class ein christliche Gemein durchaus mitsingen.kann (1586) . But many of the finest and most famous tunes are of much later origin than any such collections . Several (e.g . Ich freue mich in See also:

• DIR

dir) cannot be traced before Bach, and were very probably composed by him . (D . F .