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 periodicals archive ?
The most consistent part of the archive--as often in Northern Italy--is represented by late seventeenth- and eighteenth-century music: obviously the music composed by musicians active in the Cathedral, such as Gerolamo Gazzaniga (in service as master and organist between 1727 and 1734), and especially Giovanni Maria Bianchi, Giovanni Sampietro, Raimondo Mei, but also the evidence of the use of polychoral Masses copied from the printing of the Bolognese school (i.
He repeatedly took up the art of Dutch counterpoint, yet in many of his works he embraced the modern polychoral style, influenced by Adrian Willaert and the Venetian tradition.
The concert's rich programme will open with Giovanni Gabrielli's Canzona XII for winds, in majestic Venetian polychoral style -- a type of music of the late Renaissance and early Baroque era where separate choirs would sing in alternation.
The chapter titles reflect this repetition of anti-structure structure, representative of something like a fractal or a mise-en-abyme or a postmodern polychoral antiphonal liturgical chant: "Preface: Disenchantment"; "Introduction: Death of Nature"; "1: Nature's Enchantments"; "2: Truth's Enchantments"; "3: The Good Enchanting"; "4: Art Enchanting"; "5: Enchanting Bodies"; "6: Betraying Enchantment"; "7: Beyond Enchanting.
Tallis/ Striggio As a chorister, meeting the challenge of polychoral renaissance music really fires me up.
Christian music can be as diverse as medieval plainchants and rock bands, polychoral anthems and the Brooklyn Tabernacle choir.
However, Fenlon asks whether the reconfiguration might also have been prompted by the polychoral psalm settings of Adrian Willaert, who had recently been appointed choir-master.
In the third section Kendrick moves to a discussion of the music, styles, and genres, providing a detailed description of how Milanese composers worked with the polychoral or cori spezzati style, most often connected with Venice and Rome, and also how certain composers cultivated the new sacred concerto style, in which voices were accompanied by instruments and basso continuo.
ABREU, Jose, Sacred polychoral repertory in Portugal, ca.
Because, first of all, it may be no coincidence that the spatial aspect (which manifests itself in the prescribed positioning of the four instrumental groups of the Luzifer-Gruss at four widely separated and elevated points in the scene of action) alludes in terms of music history to the performance practice of the Venetian polychoral style, and thus to the spatial music of baroque ceremonial church music.
The music is for two equal choirs, with a single basso seguente part for organ, and shows that the polychoral idiom was well established in Sicily by the early Seicento.