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In Western classical music, call and response is known as antiphony. The New Grove Dictionary defines antiphony as "music in which an ensemble is divided into distinct groups, used in opposition, often spatial, and using contrasts of volume, pitch, timbre, etc." [ 13 ] Early examples can be found in the music of Giovanni Gabrieli , one of the ...
The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture.
Printed antiphonary (ca. 1700) open to Vespers of Easter Sunday. (Musée de l'Assistance Publique – Hôpitaux de Paris)An antiphonary or antiphonal is one of the liturgical books intended for use in choro (i.e. in the liturgical choir), and originally characterized, as its name implies, by the assignment to it principally of the antiphons used in various parts of the Latin liturgical rites.
In some African cultures, call-and-response is a widespread pattern of democratic participation—in public gatherings, in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression (see call and response in music).
Lining out or hymn lining, called precenting the line in Scotland, is a form of a cappella hymn-singing or hymnody in which a leader, often called the clerk or precentor, gives each line of a hymn tune as it is to be sung, usually in a chanted form giving or suggesting the tune.
The name Antiphon the Sophist (/ ˈ æ n t ə ˌ f ɒ n,-ən /; Ancient Greek: Ἀντιφῶν) is used to refer to the writer of several Sophistic treatises. He probably lived in Athens in the last two decades of the 5th century BC, but almost nothing is known of his life.
A thin manuscript volume of 36 leaves, it is the oldest extant liturgical monument of the Celtic Church to which an approximate date can with certainty be assigned, and which on this and other grounds is of particular interest to liturgical scholars, particularly in Ireland and England.
The spacious and sonorous use of spread chords, the majestic cadences and extreme range of dynamics, along with the antiphony between the two string bodies (playing alternately, the one answering the other, often like an echo), the contrast with the string quartet, and the passages for solo violin and solo viola combine to create a luminous effect.