Dear Liza et al,
Here's what my brother (who is a cantor) responded to this query when 
I forwarded it to him:


I appreciate your inquiring about chironomy (note that this is the 
correct way to spell the word) on behalf of your colleague in New 
York.  This is a topic among cantors from time to time, and I recall 
that some cantors have drawn up chironomy charts, but I do not know 
if they have been published.  If you like, I can certainly put out a 
new inquiry on Hazzanet or in the ACC Digest, although the cantor at 
Emanu-El should really do that outreach.

I understand that chironomy was the forerunner of today's 
cantillation.  In ancient times, the teacher, who had memorized the 
traditional Torah chant, would stand by as his student chanted from 
the Torah.  The teacher would use hand signals to remind the student 
what melody to sing.  Over several centuries, the Masoretes codified 
these hand signals and developed them into written neginot, which 
today are printed in humashim and are called "tropes" by many 
people.  But the Masoretic neginot were intended as much for 
grammatical interpretation as for remembering melodies.

In a kind of "retro" movement, some of our contemporaries have begun 
to use chironomy again, but I regard that as merely an occasional 
curiosity and not very practical.  In my view, a student can learn to 
chant the Torah better using charts and CDs than by watching a 
teacher gesticulate under the pressure of the presence of a whole 
congregation.  In any event, I believe that there is no reliable 
record of exactly what hand signal represented what specific melody 
in ancient times.  Therefore, contemporary chironomy has by no means 
been standardized, and each person who practices it is probably using 
his or her own original ideas.







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