ANTIPHON
. Word deriving from the Greek adjective antiphonos, the neuter plural of which became
the Latin substantive antiphona (OFr. antifone). Appearing for the first time in a
Christian context in the latter half of the 4th century, “antiphon” denoted either a short
musical refrain or a manner of performance using that refrain. Apart from the fact that
two choral groups were involved, it is not clear how the antiphon interacted with the
psalmody at this early period. By the 8th century, “antiphon” usually meant a short
textual-musical unit of one to four phrases intended to be sung at the beginning and end
of a psalm and possibly intercalated a number of times between verses.
Evidence from Syria implies that the earliest antiphons were nonbiblical and that they
played a role in doctrinal controversies. The earliest reference to antiphons in Gaul occurs
in the Institutes of John Cassian (ca. 360–ca. 435), an eastern monk who seems to assume
that his western counterparts already understood their use in the Divine Office. Antiphons
appear also in the Office prescribed by the monastic rules of Caesarius and Aurelian,
bishops of Arles in the first half of the 6th century (r. ca. 500–43 and 546–51,
respectively).
The melodies to which the verses of the psalms are sung have cadences designed to
lead smoothly into the beginning of the antiphon, thus implying that at one time the
antiphon was repeated between at least some verses of the psalm. Tonaries, catalogues of
antiphons grouped according to the psalm tone appropriate to each, record the repertoire
of antiphons as early as the first third of the 9th century, but the notated sources begin
only ca. 1000, with the Antiphoner of Hartker (St. Gall, Stiftsbibliothek 390–91). The
earliest source of the texts without music is the Antiphoner of Compiègne (B.N. lat.
17436), from the last third of the 9th century.
The antiphons for ordinary weekdays, which consist of a psalm hemistich set to a
primarily syllabic melody, may represent the oldest layer of the repertoire. Some
antiphons that consist solely of the word alleluia may be contemporary with them. Other
antiphon texts are drawn from other books of the Bible and, in the case of saints’ Offices,
from the hagiographical literature. Successive antiphons for some later Offices were
composed in ascending order of the eight modes. Antiphons with rhymed metrical texts
enjoyed great popularity in the high Middle Ages. Certain processional chants and a
special group of pieces in honor of the Blessed Virgin were called “antiphons,” even
though most were not associated with the singing of psalms. Typically, these newer
antiphons can be distinguished by their fuller melodic development.
Two of the chants of the Mass, the Introit and the Communion, originated as antiphons
with psalm verses. Both are associated with movement: the entrance of the clergy and the
congregation’s movement to the altar for communion.
Joseph Dyer
[See also: MAGNIFICAT; O ANTIPHONS].
Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958, pp. 392–404 [Office
antiphons], 305–12 [Introits and Communions].
Claire, Jean. “Les répertoires liturgiques latins avant l’Octoéchos. I: L’office férial romano-franc.”
Études grégoriennes 15 (1975):11–193.
The Encyclopedia 91