Anantiphon (Greek ἀντίφωνον, ἀντί "opposite" and φωνή "voice") is a shortchant inChristianritual, sung as arefrain. The texts of antiphons are usually taken from thePsalms or Scripture, but may also be freely composed. Their form was favored bySt. Ambrose and they feature prominently inAmbrosian chant, but they are used widely inGregorian chant as well. They may be used during Mass, for theIntroit, theOffertory or theCommunion. They may also be used in theLiturgy of the Hours, typically forLauds orVespers.
They should not be confused withMarian antiphons orprocessional antiphons.
When a chant consists of alternatingverses (usually sung by a cantor) andresponses (usually sung by the congregation), a refrain is needed.
The looser termantiphony is generally used for anycall and response style of singing, such as thekirtan or thesea 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 thesinging or musical playing ofpsalms by alternating groups of performers.[2] The term "antiphony" can also refer to a choir-book containing antiphons.
The chant of early Christianity through to the end of the 5th century had its root in thesynagogue, whence early Christians borrowed the traditions of the chanting of psalms, singing ofhymns andcantillation. There is some evidence fromActs 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 intoChristian worship byIgnatius of Antioch (died 107) after he saw a vision of two choirs of angels.[4] Antiphonal singing was an element ofJewish liturgy believed to have entered the monasteries of Syria and Palestine in the 4th century from the Jewish communities such as the one inAntioch.[3]
Antiphons have remained an integral part of the worship in theByzantine andArmenian Rite.[5] The practice did not become part of theLatin Church until more than two centuries later.Ambrose andGregory 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 theCatholic Church today.[6]
PolyphonicMarian antiphons in theTudor votive style emerged in England in the 14th century as settings of texts honouring theVirgin Mary, which were sung separately from themass andoffice, often afterCompline.[7] Towards the end of the 15th century,Englishcomposers produced expanded settings up to nineparts, with increasing complexity andvocal range.[7] The largest collection of such antiphons is the late-15th-centuryEton Choirbook.[8] As a result, antiphony remains particularly common in theAnglican musical tradition: the singers often face each other, placed in thequire'sDecani andCantoris.[9]
The Greater Advent or O Antiphons are antiphons used at dailyprayer in the evenings of the last days ofAdvent in variousliturgicalChristian traditions.[10] Each antiphon is a name ofChrist, one of his attributes mentioned in Scripture. In theRoman Catholic tradition, they are sung as antiphons to theMagnificat inVespers from December 17 to December 23.[11] In theChurch of England they have traditionally been used as antiphons to the Magnificat atEvening Prayer.[12] More recently they have found a place in primary liturgical documents throughout the Anglican Communion, including theChurch of England'sCommon Worshipliturgy. Use of the O Antiphons was preserved inLutheranism at theGerman Reformation, and they continue to be sung in Lutheran churches.[13]
When two or more groups of singers sing in alternation, the style of music can also be calledpolychoral. Specifically, this term is usually applied to music of the lateRenaissance and earlyBaroque periods. Polychoral techniques are a definitive characteristic of the music of theVenetian school, exemplified by the works ofGiovanni Gabrieli: this music is often known as theVenetian polychoral style.[14] The Venetian polychoral style was an important innovation of the lateRenaissance. This style, with its variations as it spread across Europe after 1600, helped to define the beginning of theBaroque era. Polychoral music was not limited toItaly in the Renaissance; it was also popular in France withMarc-Antoine Charpentier (37 settings H.16–H.52), inSpain andGermany. There are examples from the 19th and 20th centuries, from composers as diverse asHector Berlioz,Igor Stravinsky,Béla Bartók, andKarlheinz Stockhausen.[15]
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