A Dictionary of Music and Musicians/Cantor
CANTOR (Mediæval Lat. Primicerius; Eng. Precentor, Chanter; Fr. Chantre, Grand Chantre).
I. A title given, in Cathedral and Collegiate Churches, to the leader of the singing. In English Cathedrals, the Precentor is usually second only in dignity to the Dean; the Precentor of Sarum claiming still higher rank, as representing the entire Province of Canterbury—an honour which has long existed only in name. His seat is the first return-stall, on the north side of the Choir, facing the Altar; for which reason the north side is called Cantoris, or the Chanter's side. In some few Cathedrals in this country, the familiar term, Chanter, is still retained; and the Succentor is called the Sub-Chanter. The Latinised form, Cantor, is always used in Germany; but, in France, Chantre is frequently exchanged for Maître de Chapelle.
The duty of the Precentor is, to intone the Psalms and Canticles—at least, where Gregorian Services are used; to exercise a general supervision over the singing; to select the music; and, to take care that it is properly performed. It is from the first of these functions that he derives his title; but, in consequence of the high rank attached to the preferment, it is generally given to a beneficed Clergyman who performs its duties by deputy.
II. A name given to the Principal of a College of Church Music.
We hear of the foundation of such a College, in Rome, as early as the 4th century; but it was not until the Pontificate of S. Gregory the Great (590–604) that the Roman Scholæ Cantorum began to exercise any very serious influence upon the development of Church Music. A sketch of their subsequent history will be found in vol. iii. p. 519. Charlemagne founded Singing Schools in many parts of his dominions; and watched over them with paternal care. Every such School was governed by its own special Primicerius, or Cantor; and, as the curriculum was not confined to singing, but comprised a complete course of instruction in music, the influence of a learned Cantor was very great.
In later times the number of these institutions increased rapidly; and many of the old foundations still flourish. The French Maîtrises were excellent in principle; but, as time progressed, they admitted the sæcular element, and their Chantres developed into true Maîtres de Chapelle. One of the oldest and most important foundations in Germany was that at the Abbey of Fulda. But the Cantors who have exercised the strongest influence on modern Art are those of the Thomas-Schule at Leipzig. [See vol. ii. p. 115 a, and Leipzig in Appendix.]