Poison |
from the Greek xoros – round dance with singing; lat. chorus, ital. coro, germ. Chor, French choeur, eng. choir, chorus
1) A cult group dance with singing (sometimes a round dance), often accompanied by aulos, kifara, lyre in Dr. Greece, as well as in Dr. Judea.
2) In ancient times, an obligatory collective participant in tragedies and comedies, personifying the voice of the people and often acting as independent. actor.
3) A group of singers who jointly perform a wok. prod. with instr. with or without accompaniment (choir a cappella). X. has come a long way historical. development and performed decomp. functions. Its composition, the principles of division into voices, evolved, the number of performers changed (see Choral music). In the early Middle Ages (c. 4th century), when from the church. community stood out prof. X. (kliros), he was still undifferentiated. In 10-13 centuries. the primary differentiation of voices by registers begins. Later (probably from the 14th-15th centuries), with the development of polyphony, the concept of chorus was established. parties, each of which could be performed in unison or divided into several. votes (so-called divisi). During this period, the division into voices was determined by their function in music. fabrics. The main melodic the voice was tenor; the rest of the voices – motet, triplum, quadruplum – performed auxiliary. role. Number of choirs parties and the size of the choir largely depended on the muses. style of each era. For 14-15 centuries. 3-4 goals are characteristic. choirs, in the Renaissance the number of voices increased to 6-8 or more, at the same time double and triple X compositions appeared. The emergence of a system of functional harmonics. thinking led to the division of the choir into 4 cores. parties: treble (or soprano), alto, tenor, bass (this division of the choir remains predominant today).
With the advent of opera, X. becomes its integral element and gradually acquires a great dramaturgy in certain types of opera. meaning. Except the church. and opera choirs, in music. culture Zap. In Europe, a prominent place was occupied by secular choirs. chapels. The assertion of the independence of X. in means. degree associated with the development of the oratorio genre, as well as specific choir. conc. genres (eg, chorus cantatas). In the history of Russian music X. played a particularly important role, because in Russian. music folklore choir. singing dominated, and prof. Russian music until the 18th century. developed ch. arr. to the choir channel (see Russian music, Church music); rich tradition of choir. cultures were preserved in subsequent periods.
Modern Choreology distinguishes X. according to the composition of voices – homogeneous (female, male, children), mixed (consisting of heterogeneous voices), incomplete mixed (in the absence of one of the 4 main parties), and also by the number of participants. The minimum number of choristers is 12 (chamber choir), 3 members each. to the choir batches, maximum – up to 100-120 hours. (consolidated choirs of up to 1000 people or more perform in the Soviet Baltic republics at the Song Festivals).
4) Music. product intended for choir. team. It can be independent or be included as an integral element in a larger work.
5) In Western Europe opera music of the 17th and 18th centuries. the designation will conclude. sections of “duets of consent” and trios.
6) A group of strings of one music. instrument (lute, fp.), tuned in unison to enhance or enrich the sound with timbre. In the organ is a group of potion pipes operated by one key.
7) In the orchestra – the sound of a group of homogeneous instruments (cello choir, etc.).
8) Spec. a place for choristers in Byzantine, Romanesque and Gothic churches. architecture; in Russian churches – “choirs”.
References: Chesnokov P., Choir and management, M.-L., 1940, 1961; Dmitrevsky G., Choir studies and management of the choir, M.-L., 1948, 1957; Egorov A., Theory and practice of working with the choir, L.-M., 1951; Sokolov V., Work with the choir, M., 1959, 1964; Krasnoshchekov V., Questions of choral studies. M., 1969; Levando P., Problems of choral studies, L., 1974. See also lit. at Art. Choral music.
E. I. Kolyada
