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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.
Hear for example the recordings entitled "Negro Folklore from Texas State Prisons" collected by Bruce Jackson on an Electra Records recording. [4] Call and response are widely present in parts of the Americas touched by the trans-Atlantic slave trade. The tradition of call and response fosters dialogue and its legacy continues today, as it is ...
There are three methods of singing psalms or other chants, responsorial, antiphonal, and solo. [1] In responsorial singing, the soloist (or choir) sings a series of verses, each one followed by a response from the choir (or congregation). In antiphonal singing, the verses are sung alternately by soloist and choir, or by choir and congregation. [5]
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
The individual groups of instrumentalists and singers would likely have been spatially separated, creating a polychoral, antiphonal texture. Although the text can be considered sacred, it is not liturgical. There are four groups and Continuo/Organ. Two of these groups are instrumental, the other two vocal.
Characteristic texture of the Renaissance music, also prevalent during the Baroque period. [8] Polyphonic textures may contain several PMs. [5] Bar from Bach's Fugue No. 17 in A-flat major, BWV 862, from The Well-Tempered Clavier (Book I), example of contrapuntal polyphony
In half-chanting (which is more true to antiphonal singing in the Gregorian style), decani sing the first two quarters of the chant, and cantoris the next two quarters (so that each half-choir sings a whole verse at a time). With antiphonal singing, the first two verses, the Gloria and perhaps the last two verses are often sung by the whole choir.
The movement is based around the note A, on which it begins and ends. It begins with muted strings, and as more voices enter, the texture thickens and the music becomes louder, coming to a climax on E ♭, a tritone away from A. Mutes are then removed, and the music becomes gradually quieter over gentle celesta arpeggios.