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chorial

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Definitions of chorial in various dictionaries:

adj - pertaining to the chorion

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Possible Dictionary Clues
Of or pertaining to the chorion.
chorion. (kr'-n') The outer membrane that encloses the embryo of a reptile, bird, or mammal. In mammals, the chorion contributes to the development of the placenta. The American Heritage Science bDictionaryb.

Chorial might refer to
Chorale is the name of several related musical forms originating in the music genre of the Lutheran chorale:* Hymn tune of a Lutheran hymn (e.g. the melody of "Wachet auf, ruft uns die Stimme"), or a tune in a similar format (e.g. one of the themes in the Finale of Saint-Saëns's Third Symphony) * Such tune with a harmonic accompaniment (e.g. chorale monody, chorales included in Schemellis Gesangbuch) * Such a tune presented in a homophonic or homorhythmic harmonisation, usually four-part harmony (e.g. Bach's four-part chorales, or the chorale included in the second movement of Mahler's Fifth Symphony) * A more complex setting of a hymn(-like) tune (e.g. chorale fantasia form in Bach's Schübler Chorales, or a combination of compositional techniques in César Franck's Three Chorales)The chorale originated when Martin Luther forked sacred songs in vernacular language from established practices of church music near the end of the first quarter of the 16th century. The first hymnals according to Luther's new practice were published in 1524. Luther and his followers not only wrote metrical hymn lyrics, but also composed metrical musical settings for these texts. This music was partially based on established melodies of church hymns and known secular songs. In the 17th century the repertoire was enriched with more choral and organ settings of the chorale tunes. By the end of the century a four-part setting for SATB voices had become the standard for the choral settings, while the congregational singing of chorales was verging towards monody with an instrumental accompaniment. The prolific creation of new Lutheran chorale tunes ended around the same time. * After the introduction in Lutheran churches, in the early 18th century, of the cantata genre, originally only consisting of recitatives and arias, the format was soon expanded with choral movements in the form of four-part chorales. Composers such as Johann Sebastian Bach and Gottfried Heinrich Stölzel placed these chorales often as a concluding movement at the end of their church compositions. The chorale as conclusion was emulated in more secular genres such as Romantic 19th-century symphonies. Other composers of that era, such as Franck, expanded the repertoire of the organ chorales, also emulating what late Baroque composers such as Bach had produced more than a century before. Entirely new chorale compositions became rare after the Romantic era, but by that time the four-part harmonisation technique, as exemplified in four-part chorales, had become part of the canon of Western music.

Chorial might refer to

Chorale is the name of several related musical forms originating in the music genre of the Lutheran chorale:* Hymn tune of a Lutheran hymn (e.g. the melody of "Wachet auf, ruft uns die Stimme"), or a tune in a similar format (e.g. one of the themes in the Finale of Saint-Saëns's Third Symphony)
* Such tune with a harmonic accompaniment (e.g. chorale monody, chorales included in Schemellis Gesangbuch)
* Such a tune presented in a homophonic or homorhythmic harmonisation, usually four-part harmony (e.g. Bach's four-part chorales, or the chorale included in the second movement of Mahler's Fifth Symphony)
* A more complex setting of a hymn(-like) tune (e.g. chorale fantasia form in Bach's Schübler Chorales, or a combination of compositional techniques in César Franck's Three Chorales)The chorale originated when Martin Luther forked sacred songs in vernacular language from established practices of church music near the end of the first quarter of the 16th century. The first hymnals according to Luther's new practice were published in 1524. Luther and his followers not only wrote metrical hymn lyrics, but also composed metrical musical settings for these texts. This music was partially based on established melodies of church hymns and known secular songs. In the 17th century the repertoire was enriched with more choral and organ settings of the chorale tunes. By the end of the century a four-part setting for SATB voices had become the standard for the choral settings, while the congregational singing of chorales was verging towards monody with an instrumental accompaniment. The prolific creation of new Lutheran chorale tunes ended around the same time.
* After the introduction in Lutheran churches, in the early 18th century, of the cantata genre, originally only consisting of recitatives and arias, the format was soon expanded with choral movements in the form of four-part chorales. Composers such as Johann Sebastian Bach and Gottfried Heinrich Stölzel placed these chorales often as a concluding movement at the end of their church compositions. The chorale as conclusion was emulated in more secular genres such as Romantic 19th-century symphonies. Other composers of that era, such as Franck, expanded the repertoire of the organ chorales, also emulating what late Baroque composers such as Bach had produced more than a century before. Entirely new chorale compositions became rare after the Romantic era, but by that time the four-part harmonisation technique, as exemplified in four-part chorales, had become part of the canon of Western music.

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