History of Choir Robes

The earliest visual depiction of a group of singers performing can be found in ancient tombs in Egypt around 2700 BC. However, there was no indication of a robe, vestment, or other formal or organized clothing for such early choirs.

The image to the right depicts what is believed to be a blind choir of ancient egypt.

The earliest evidence of a potentially-formal choir robe is found in ancient Greece. The Greek Chorus seems to have been relatively common in that era, and can be seen depicted on a portion of pottery dating from around 425 BC. That Greek pottery displays members of a choir both singing and playing musical instruments. The members of that ancient choir are seen wearing lengthy loose gowns that reach up and across their left shoulders. Those pictured in the pottery displayed to the left obviously have a slighlty more elaborate design than the earliest depiction.

The use of gowns likely developed from the ancient tunic. Indeed, clerical vestments such as an alb are directly related to the ancient tunic, with the word origin being a latin phrase meaning a tunic of white. Modern albs remain a plain, lightweight, ankle-length tunic with long sleeves, with a rope cincture about the waist. Ancient tunics were sleeveless, and were seen as a distinction from barbarians wore sleeved clothing (probably because those tribes lived in the colder regions). The tunic eventually did include a sleeve around the 3rd century, after military leaders returned from a campaign wearing them. This combination of tunic and choir evolved with time.

The Jewish Torah (bible) provides some possible indications that choirs held a role for the early Hebrews. For example, Nehemiah Chapter 12, section 31 has the leaders of Judah assigning two choirs to offer thanks in some translations of that section. Jewish law dictates vestments or robes for the high priest and for certain other roles at this time as well. However, I have yet to find evidence that these choirs wore robes.

Pictured to the right is a high priest of this era, in complete regalia.

The first four centuries of Christianity did not involve a special robe, tunic, vestment or other garb for members of the clergy nor presumably and choirs used in a religious setting or otherwise. Tunics remained the primary article of clothing, typically knee-length to ankle-length, usually with a cincture. Often, and additional article of clothing known as a himation was worn. This was rectangular, and wrapped around ones body over the tunic. Himations came in various colors, qualities, and designs dependant on occupation, gender, and status. There is no evidence that the himiation became a clerical vestment.

Over time clergy vestments became richer and made of costlier materials, and beauty played a larger role in church garments. It is unknown if choirs of this time followed suit, though it seems likely.

Secular choirs started to gain influence once wealthy patrons started sponsoring musicians in the Renaissance period.

The oldest written evidence of polyphonic choral singing dates from the late 1300s to around 1420 with the Old Hall Manuscript (pictured to the left). This document uses divisi (two or more voices per part).

Sacred choral music rose to prominence as the foremost formal music in Europe. During the era, music composition produced hundreds of motets and masses for primarily a cappella choirs. Choral music composed during this era remains desirable even today.

A setting for 3–6 voices of a secular text known as a Madrigal also became popular at this time. Madrigals were initially concerning dramatic settings, typically of mythology or unrequited love based on Italian poetry. However, the setting usually changed to a more cheerful tone once exported England, with subjects such as easting or spring.

Like the Medieval period, the trend in choir apparel followed the fashion trends of the day. While a separate look was established for the choir, uniformity in color and design was not required.