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An antiphon (Greek ἀντίφωνον, ἀντί "opposite" + φωνή "voice") is a response, usually sung in Gregorian chant, to a psalm or some other part of a religious service, such as at Vespers or at a Mass. This meaning gave rise to the antiphony style of singing, see call and response.

A piece of music which is performed by two semi-independent choirs interacting with one another, often singing alternate musical phrases, is known as antiphonal. In particular, antiphonal psalmody is the singing or musical playing of psalms by alternating groups of performers. The peculiar mirror structure of the Hebrew psalms renders it probable that the antiphonal method originated in the services of the ancient Israelites. According to the historian Socrates, its introduction into Christian worship was due to Ignatius of Antioch (died 107), who in a vision had seen the angels singing in alternate choirs¹. In the Latin Church it was not practised until more than two centuries later, when it was introduced by Ambrose, bishop of Milan, who compiled an antiphonary, or collection of works suitable for antiphonal singing (also known as an antiphonal). The antiphonary still in use in the Roman Roman Catholic Church was compiled by Gregory the Great (590).²

Antiphony is particularly common in the Anglican musical tradition, where the choir divides into two equal halves on opposite sides of the quire as Decani and Cantoris.

The Indian concept sawal-jawab ("question" and "answer") can be considered antiphonal. The alteration of individual notes or pitches is hocket.

Antiphon can also be used outside of a strict musical or liturgical context to mean a more general response. When used in this way the word often maintains its religious connotation.

Polychoral Antiphony

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. 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. The Venetian polychoral style was an important innovation of the late Renaissance, and this style, with its variations as it spread across Europe after 1600, helps to define the beginning of the Baroque era. Polychoral music was not limited to Italy in the Renaissance; it was popular in Spain and Germany, and there are examples from the 19th and 20th centuries, from composers as diverse as Hector Berlioz, Igor Stravinsky and Karlheinz Stockhausen.⁵

Greater Advent Antiphons

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^ "We must now however make some allusion to the origin of this custom in the church of responsive singing. Ignatius, third bishop of Antioch in Syria from the apostle Peter, who also had held intercourse with the apostles themselves, saw a vision of angels hymning in alternative chants the Holy Trinity. Accordingly he introduced the mode of singing he had observed in the vision into the Antiochian church; whence it was transmitted by tradition to all the other churches." A.C. Zenos, ed., “The Ecclesiastical History of Socartes 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, ed. Philip Schaff and Henry Wace. Grand Rapids: W. B. Eerdmans Publishing Company 1957
^ "Antiphon". Catholic Encyclopedia. (1913). New York: Robert Appleton Company.
^ "Antiphon (in the Greek Church)". Catholic Encyclopedia. (1913). New York: Robert Appleton Company.
^ "Antiphon (in Greek Liturgy)". Catholic Encyclopedia. (1913). New York: Robert Appleton Company.
^ Grove Dictionary of Music and Musicians, Oxford University Press

Polychoral.html

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Polychoral Antiphony

Greater Advent Antiphons

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