908).
The editions of Chopin's works by his pupil Mikuli and by Klindworth
are full of valuable elucidation as to methods of performance, but
unfortunately they do not distinguish the commentary from the text.
The critical edition published by Breitkopf and Haertel, with all its
mistakes, is absolutely necessary for students who wish to know what
Chopin wished to put into the hands of players of independent
judgment.

CHOPSTICKS, the "pidgin-English" name for the pair of small tapering
sticks used by the Chinese and Japanese in eating. "Chop" is
pidgin-English for "quick," the Chinese word for the articles being
_kwai-tsze_, meaning "the quick ones." "Chopsticks" are commonly made of
wood, bone or ivory, somewhat longer and slightly thinner than a
lead-pencil. Held between the thumb and fingers of the right hand, they
are used as tongs to take up portions of the food, which is brought to
table cut up into small and convenient pieces, or as means for sweeping
the rice and small particles of food into the mouth from the bowl. Many
rules of etiquette govern the proper conduct of the chopsticks; laying
them across the bowl is a sign that the guest wishes to leave the table;
they are not used during a time of mourning, when food is eaten with the
fingers; and various methods of handling them form a secret code of
signalling.

CHORAGUS (the Lat. form of Gr. [Greek: choragos] or [Greek: choregos],
leader of the chorus), the citizen chosen to undertake the expense of
furnishing and instructing the chorus at the Dionysiac festivals at
Athens (see LITURGY and FINANCE). The name is given to an assistant to
the professor of music at the university of Oxford, whose office was
founded, with that of the professor, in 1626 by Dr William Heather.

CHORALE (from the Lat. _choralis_, sc. _cantus_; the final _e_ is added
to show the Ger. pronunciation _chor[=a]l_), a term in music used by
English writers to indicate the hymn-tunes composed or adopted for use
in church by the German reformers. German writers, however, apply the
terms "_Choral_" and "_Chorale-gesang_," as Luther himself would apply
them, to any solemn melody used in the church. It is thus the equivalent
of _canto fermo_; and the German rhymed versions of the biblical and
other ancient canticles, such as the Magnificat and the Te Deum, are set
to curious corruptions of the corresponding Gregorian tunes, which
adaptations the composers of cla