Antiphon - Wikipedia Antiphon From Wikipedia, the free encyclopedia Jump to navigation Jump to search This article is about the musical term. For other uses, see Antiphon (disambiguation). The Liber responsorialis, showing on the right-hand page the antiphons for the first night office of Christmas. The associated psalm tones are indicated by number and ending pitch, and the pitches for the ending of the doxology are indicated by vowels:et in secula seculorum amen. An antiphon (Greek ἀντίφωνον, ἀντί "opposite" and φωνή "voice") is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are the Psalms. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers. They should not be confused with Marian antiphons or processional antiphons. When a chant consists of alternating verses (usually sung by a cantor) and responds (usually sung by the congregation), a refrain is needed. The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture. Antiphonal music is that performed by two choirs in interaction, often singing alternate musical phrases.[1] Antiphonal psalmody is the singing or musical playing of psalms by alternating groups of performers.[2] The term “antiphony” can also refer to a choir-book containing antiphons. Contents 1 Origins 2 Polyphonic votive antiphons 3 Greater Advent antiphons 4 Polychoral antiphony 5 See also 6 References 7 External links Origins[edit] The chant of early Christianity through to the end of the 5th century had its root in the Synagogue, from whence early Christians borrowed the traditions of the chanting of psalms, singing of hymns and cantillation. There is some evidence from Acts of the Apostles that early Christians stayed close to contemporary Jewish traditions, for example Acts 2:46-47 states that "with one accord in the Temple, and breaking bread from house to house did eat their meat with gladness and singleness of heart, praising God, and having favour with all the people".[3] Socrates of Constantinople wrote that antiphony was introduced into Christian worship by Ignatius of Antioch (died 107) after he saw a vision of two choirs of angels.[4] Antiphonal singing was an element of Jewish liturgy believed to have entered the monasteries of Syria and Palestine in the 4th century from the Jewish communities such as the one in Antioch.[3] Antiphons have remained an integral part of the worship in the Byzantine and Armenian Rite.[5] The practice did not become part of the Latin Church until more than two centuries later. Ambrose and Gregory the Great, who are known for their contributions to the formulation of Gregorian chant, are credited with 'antiphonaries', collections of works suitable for antiphon, which are still used in the Roman Catholic Church today.[6] Polyphonic votive antiphons[edit] Polyphonic Marian antiphons emerged in England in the 14th century as settings of texts honouring the Virgin Mary, which were sung separately from the mass and office, often after Compline.[7] Towards the end of the 15th century, English composers produced expanded settings up to nine parts, with increasing complexity and vocal range.[7] The largest collection of such antiphons is the late-15th-century Eton Choirbook.[8] As a result, antiphony remains particularly common in the Anglican musical tradition: the singers often face each other, placed in the quire's Decani and Cantoris.[9] Greater Advent antiphons[edit] Main article: O Antiphons The Annunciation The Greater Advent or O Antiphons are antiphons used at daily prayer in the evenings of the last days of Advent in various liturgical Christian traditions.[10] Each antiphon is a name of Christ, one of his attributes mentioned in Scripture. In the Roman Catholic tradition, they are sung or recited at Vespers from December 17 to December 23.[11] In the Church of England they have traditionally been used as antiphons to the Magnificat at Evening Prayer.[12] More recently they have found a place in primary liturgical documents throughout the Anglican Communion, including the Church of England's Common Worship liturgy. Use of the O Antiphons was preserved in Lutheranism at the German Reformation, and they continue to be sung in Lutheran churches.[13] Polychoral antiphony[edit] When two or more groups of singers sing in alternation, the style of music can also be called polychoral. Specifically, this term is usually applied to music of the late Renaissance and early Baroque periods. Polychoral techniques are a definitive characteristic of the music of the Venetian school, exemplified by the works of Giovanni Gabrieli: this music is often known as the Venetian polychoral style.[14] The Venetian polychoral style was an important innovation of the late Renaissance. This style, with its variations as it spread across Europe after 1600, helped to define the beginning of the Baroque era. Polychoral music was not limited to Italy in the Renaissance; it was also popular in France with Marc-Antoine Charpentier (37 settings H.16-H.52), in Spain and Germany. There are examples from the 19th and 20th centuries, from composers as diverse as Hector Berlioz, Igor Stravinsky, Béla Bartók, and Karlheinz Stockhausen.[15] See also[edit] Marian antiphon Polyphony Polyphonic form Polyphonic singing Polychoral compositions Latin church music by George Frideric Handel — includes three antiphons. References[edit] ^ E. Foley and M. Paul, Worship music: a concise dictionary (Liturgical Press, 2000), p. 18. ^ J. McKinnon, Music in early Christian literature (Cambridge University Press, 1989), p. 10. ^ a b Wellesz, Egon (1954). New Oxford History of Music Vol II: Early Medieval Music up to 1300. Oxford University Press. Retrieved 9 August 2019. ^ A.C. Zenos, ed., 'The Ecclesiastical History of Socrates Scholasticus,' book VI, chapter VIII, vol 2, p 144. In A Select Library of Nicene and Post-Nicene Fathers of the Christian Church, Second Series, P. Schaff and H. Wace, eds (Grand Rapids: W. B. Eerdmans Publishing Company, 1957). ^ Herbermann, Charles, ed. (1913). "Antiphon (in Greek Liturgy)" . Catholic Encyclopedia. New York: Robert Appleton Company. ^ G. Wainwright, K. B. W. Tucker. The Oxford History of Christian Worship (Oxford University Press, 2006), p. 244. ^ a b R. H. Fritze and W. Baxter Robison, Historical Dictionary of Late Medieval England, 1272–1485 (Greenwood, 2002), p. 363. ^ H. Benham, John Taverner: His Life and Music (Ashgate, Aldershot, 2003), pp. 48–9. ^ R. Bray, 'England i, 1485–1600' in J. Haar, European Music, 1520–1640 (Boydell, 2006), p. 498. ^ A. Nocent and M. J. O'Connell, The Liturgical Year (Liturgical Press, 1977), p. 162. ^ A. Nocent and M. J. O'Connell (1977), Liturgical Year, pp. 163-80. ^ J. H. Blunt, The Annotated Book of Common Prayer: Being an Historical, Ritual, and Theological Commentary on the Devotional System of the Church of England (Rivingtons, 1866), p. 76. ^ C. B. Brown, Singing the Gospel: Lutheran Hymns and the Success of the Reformation (Harvard University Press, 2005), p. 61. ^ C. Parrish, A Treasury of Early Music: Masterworks of the Middle Ages, the Renaissance and the Baroque Era (Courier Dover Publications, 2000), p. 138. ^ Grove Dictionary of Music and Musicians, Oxford University Press. External links[edit] Antiphonat Wikipedia's sister projects Definitions from Wiktionary Media from Wikimedia Commons Texts from Wikisource Antiphon "O Sapientia quae ex ore Altissimi..." (help·info) Antiphon O Adonai II Great Advent Antiphon (help·info) File:Schola Gregoriana-Antiphona et Magnificat.ogg v t e Medieval music List of composers List of music theorists Early (before 1150) Abbey of Saint Gall Notker the Stammerer Tuotilo Stephen of Liège Hucbald* Odo of Cluny* Saint Martial school Adémar de Chabannes Odo of Arezzo* St. Godric Peter Abelard Hildegard of Bingen Adam of Saint Victor High (1150–1300) Ars antiqua Notre-Dame school Albertus Parisiensis Léonin Pérotin Philippe le Chancelier Petrus de Cruce* Troubadour & Trobairitz* Aimeric de Peguilhan Arnaut Daniel Arnaut de Mareuil Bernart de Ventadorn Bertran de Born Castelloza Cerverí de Girona Comtessa de Dia* Folquet de Marselha Gaucelm Faidit Giraut de Bornelh Guiraut Riquier Jaufre Rudel Marcabru Peire d'Alvernha Peire Cardenal Peire Vidal Peirol Raimbaut d'Aurenga Raimbaut de Vaqueiras Raimon de Miravalh Sordello William IX, Duke of Aquitaine Other troubadours and trobairitz... Trouvère Adam de la Halle Andrieu Contredit d'Arras Audefroi le Bastart Blondel de Nesle Chastelain de Couci Chrétien de Troyes Colin Muset Conon de Béthune Gace Brulé Gautier de Coincy Gautier de Dargies Gautier d'Espinal Gillebert de Berneville Gontier de Soignies Guillaume le Vinier Guiot de Dijon Jehan Bretel Jehan Erart Jehan le Cuvelier d'Arras Moniot d'Arras Perrin d'Angicourt Philippe de Rémi Raoul de Soissons Other trouvère... Goliards Minnesang Galician-Portuguese lyric List of Galician-Portuguese troubadours Late (1300–1400) Ars nova F. Andrieu Magister Franciscus Grimace Jehan de Lescurel Guillaume de Machaut P. des Molins Jehan Vaillant Philippe de Vitry* (Other ars nova composers...) Trecento Jacopo da Bologna Donato da Cascia Giovanni da Cascia Antonello da Caserta Johannes Ciconia* Gherardello da Firenze Lorenzo da Firenze* Paolo da Firenze Francesco Landini Giovanni Mazzuoli Bartolino da Padova Matteo da Perugia Niccolò da Perugia Maestro Piero Sant Omer Vincenzo da Rimini Zacara da Teramo Ars subtilior Borlet Philippus de Caserta Johannes Ciconia* Baude Cordier Johannes Cuvelier Egardus Egidius Martinus Fabri Petrus de Goscalch Johannes Symonis Hasprois Matheus de Sancto Johanne Gacian Reyneau Rodericus Jacob Senleches Solage Johannes Susay Antonio Zacara da Teramo Trebor Johannes Alanus John Dunstaple Contenance angloise Thomas Fabri Roy Henry Arnold de Lantins Leonel Power W. de Wycombe Theorists Magister Phillipotus Andreas Guido of Arezzo Franco of Cologne Johannes Cotto Johannes de Garlandia Johannes de Grocheio Robert de Handlo Iacobus de Ispania Johannes de Muris Walter Odington Berno of Reichenau Aurelian of Réôme Petrus Le Viser Musical instruments Wind Bagpipes Bladder pipe Bombard Crumhorn Flute Gemshorn Jew's harp Organ Recorder Sackbut Shawm String Citole Gittern Guitarra latina Guitarra morisca Dulcimer Harp Hurdy-gurdy Lute Cretan lyra Lyre Psaltery Rebec Tromba marina Vielle Viol Zampogna Zither Percussion Carillon Crotales Nakers Tabor Tambourine Triangle Musical forms Antiphon Canso Carol Chanson Chansonnier Chant Conductus Estampie Formes fixes Ballade Rondeau Virelai Geisslerlied Gregorian chant Pope Gregory I Lai Tydorel Liturgical drama Madrigal Motet Organum Planctus Traditions British Isles England Scotland Cyprus France Germany Italy Lithuania Portugal Spain Derivations Medieval folk rock Medieval metal Neo-Medieval music Background Early music Middle Ages Art Architecture Poetry Literature Philosophy Also music theorist* Renaissance music → Category Portal WikiProject Retrieved from "https://en.wikipedia.org/w/index.php?title=Antiphon&oldid=998370395" Categories: Musical forms Musical techniques Polychoral compositions Polyphonic form Polyphonic singing Medieval music genres 16th-century music genres Church music Hidden categories: Articles incorporating a citation from the 1913 Catholic Encyclopedia with Wikisource reference Articles with hAudio microformats Navigation menu Personal tools Not logged in Talk Contributions Create account Log in Namespaces Article Talk Variants Views Read Edit View history More Search Navigation Main page Contents Current events Random article About Wikipedia Contact us Donate Contribute Help Learn to edit Community portal Recent changes Upload file Tools What links here Related changes Upload file Special pages Permanent link Page information Cite this page Wikidata item Print/export Download as PDF Printable version In other projects Wikimedia Commons Wikisource Languages Català Čeština Dansk Deutsch Eesti Español Esperanto فارسی Français Galego Հայերեն Ido Bahasa Indonesia Italiano עברית Kiswahili Latina Magyar Nederlands 日本語 Norsk bokmål Norsk nynorsk Oʻzbekcha/ўзбекча Polski Português Română Русский Slovenčina Slovenščina Suomi Svenska Українська 中文 Edit links This page was last edited on 5 January 2021, at 02:16 (UTC). 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