antiphon

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an·ti·phon

 (ăn′tə-fŏn′)
n.
1. A devotional composition sung responsively as part of a liturgy.
2.
a. A short liturgical text chanted or sung responsively preceding or following a psalm, psalm verse, or canticle.
b. Such a text formerly used as a response but now rendered independently.
3. A response; a reply: "It would be truer ... to see [conservation] as an antiphon to the modernization of the 1950s and 1960s" (Raphael Samuel).

[Late Latin antiphōna, sung responses; see anthem.]

antiphon

(ˈæntɪfən)
n
1. (Ecclesiastical Terms) a short passage, usually from the Bible, recited or sung as a response after certain parts of a liturgical service
2. (Ecclesiastical Terms) a psalm, hymn, etc, chanted or sung in alternate parts
3. any response or answer
[C15: from Late Latin antiphōna sung responses, from Late Greek, plural of antiphōnon (something) responsive, from antiphōnos, from anti- + phōnē sound]

an•ti•phon

(ˈæn təˌfɒn)

n.
1. a verse, prayer, or song to be chanted or sung in response.
2. a text recited or sung before or after some part of the liturgical service.
[1490–1500; < Medieval Latin antiphōna responsive singing < Greek, neuter pl. of antíphōnos sounding in answer]
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.antiphon - a verse or song to be chanted or sung in responseantiphon - a verse or song to be chanted or sung in response
church music, religious music - genre of music composed for performance as part of religious ceremonies
gradual - (Roman Catholic Church) an antiphon (usually from the Book of Psalms) immediately after the epistle at Mass
Translations

antiphon

[ˈæntɪfən] Nantífona f

antiphon

[ˈæntɪfən] n (Rel) → antifona
References in classic literature ?
Angelo; the antiphon Regina Coeli which the Catholic church sings
Then again there is Lysanias of Sphettus, who is the father of Aeschines--he is present; and also there is Antiphon of Cephisus, who is the father of Epigenes; and there are the brothers of several who have associated with me.
Since the evidence suggests that Gerard wrote the antiphons and responsories of Gaudeat Hungaria, Haggh concludes that the lessons in the Brussels manuscript were intended for that office.
In "Antiphonal Psalmody in Christian Antiquity and Early Middle Ages," Edward Nowacki argues that from around 700 to 1000 Office antiphons were sung by soloists while ordinary monks sang only the psalm verses (except on special occasions).
An analysis of the three-part antiphons of the Glogau manuscript describes the transformation of the chant into a strict succession of breves in the discantus, broken by the syntactical subdivisions of the text and adapted to the breath of the singer by caesuras.
Yet in my doctoral thesis (Studies on the Office Antiphons of the Old Roman Manuscripts," Brandieis University, 1980) I address this question explicitly when I define the formula as the stereotyped observance of certain constraints of range and pitch that singers used as alternatives to novel realizations, which might have taxed their powers of invention and put the fluency of their performance at risk (pp.
The letter "O" in Mary's title refers to the beginning of the introductory verses or antiphons that precede the recitation or singing ofher Magnificat during the eight days before Christmas.
Their topics include digital philology between Alexander and Babel, taking a fresh start on categories of ancient Christian texts and writing materials, digital editing and the Greek New Testament, the "Thesaurus Gregorianus," an Internet database of Gregorian office antiphons, new technology for imaging unreadable manuscripts and other artifacts: integrated spectral reflectance transformation imaging, and digital resources of the Rabbinic literature: radical change with a click of the mouse.
46) He is another composer who is well represented in the codex, with ten motets and three antiphons.
There are sonnets written in response to the seven Great O Antiphons, sonnets concerned with Christmastide, Epiphany, Holy Week, the Stations of the Cross, and other significant events on the church calendar.
About two-thirds of the chants on the album come from the Catholic Latin Mass, and the rest is call-and-response choral music, or antiphons.
Iversen (Institute for Classical Languages, Stockholm University) challenges that idea in her celebration of the tropes, antiphons and sequences that individual writers and composers added to the Mass from the tenth through the twelfth centuries.