Antiphone

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Printed antiphonary (ca. 1700) open to Vespers of Easter Sunday. ( Musée de l'Assistance Publique – Hôpitaux de Paris) Codex F. 160 de la bibliothèque de la cathédrale de Worcester, Antiphonaire monastique (s. XIII) ISBN 978-2-85274-178-2 [15] It would take too much space to record here the multiplication of antiphonaries and their gradual deterioration, both in text and in chant, from the Roman standard. C. B. Brown, Singing the Gospel: Lutheran Hymns and the Success of the Reformation ( Harvard University Press, 2005), p. 61. Vesperale Romanum Juxta Ordinem Breviarii Romani cum cantu emendato editum sub auspiciis Ss. D. N. Pii PP.IX curante Sacr. Rituum Congregatione

The school of Metz began the process early. Commissioned by Louis the Pious to compile a "Graduale" and antiphonary, the priest Amalarius of Metz found a copy of the Roman antiphonary in the monastery of Corbie, and placed in his own compilation an M when he followed the Metz antiphonary, R when he followed the Roman, and an I C (asking Indulgence and Charity) when he followed his own ideas. In like manner, the Roman Breviary, practically entirely meant for singing in choro, contains no music; and the "Antiphonarium" performs for it a service similar to that of the "Liber Gradualis" for the Missal. Antiphonarium Romanum, juxta Breviarium Pii quinti pontificis maximi authoritate editum. Cujus modulatio concinnè disposita; in usum & gratiam monialium ordinis Sancti Avgvstini. Operâ & studio Guillelmi Gabrielis Nivers. In current usage, Antiphonary refers more narrowly to books containing the chants for the Divine Office in distinction to the Gradual ( Graduale or more rarely antiphonarium Missarum), which contains the antiphons used for the Mass. [1]J. H. Blunt, The Annotated Book of Common Prayer: Being an Historical, Ritual, and Theological Commentary on the Devotional System of the Church of England (Rivingtons, 1866), p. 76. The exact origin of the O Antiphons is not known. Boethius (c. 480-524) made a slight reference to them, thereby suggesting their presence at that time. At the Benedictine abbey of Fleury (now Saint-Benoit-sur-Loire), these antiphons were recited by the abbot and other abbey leaders in descending rank, and then a gift was given to each member of the community. By the eighth century, they are in use in the liturgical celebrations in Rome. The usage of the O Antiphons was so prevalent in monasteries that the phrases, Keep your O and The Great O Antiphons were common parlance. One may thereby conclude that in some fashion the O Antiphons have been part of our liturgical tradition since the very early Church. The first of these volumes to be issued, entitled: Tomus II. continens Horus Diurnus Breviarii Romani (Vesperale), contained the antiphons, psalms, hymns and versicles of the Canonical Hours styled Horæ Diurnæ, i. e. Lauds, Prime, Terce, Sext, None, Vespers and Compline. It comprised in one volume what in some editions had been distributed in several, such as the "Antiphonarium" (in a very restricted sense), the "Psalterium", the "Hymnarium", the "Responsoriale". The Office of Matins was divided into the other two volumes, one of which contained the invitatories, antiphons, hymns, etc., of Matins for the Proprium de Tempore (Proper of the Season), and the other, for the Commune Sanctorum ( Common Office of the Saints) and the Proprium Sanctorum ( Proper Office of the Saints).

Vesperale Romanum: Excerptum Ex Antiphonali S. R. E. Jussu Ss. D. N. Pii X Pontificis Maximi Restituto Et Edito antiphon, in Roman Catholic liturgical music, chant melody and text sung before and after a psalm verse, originally by alternating choirs (antiphonal singing). The antiphonal singing of psalms was adopted from Hebrew worship by the early Christian churches, notably that of Syria, and was introduced into the West in the 4th century by St. Ambrose. The two choirs both sang the psalm text or, alternatively, one choir sang a short refrain between the psalm verses (V) sung by the other choir. The refrain was called an antiphon (A). The resulting musical form was A V 1 A V 2… A. Actually, most of the presentations of the antiphon were in abbreviated form. The antiphon text normally referred to the meaning of the feast day or the psalm. Canticles from the New or Old Testament might also be sung in this way. Each psalm is also provided with an optional short prayer, which develops a theme from the text. Just as the refrains may be used without these prayers, so too the prayers may be used without the refrains. When they are used, it is desirable that the ‘Glory to …’ be omitted and that a period of silence for individual reflection and prayer be kept at the end of the psalm (after the refrain, when this is included), before the prayer itself is said. Liber Antiphonarius pro Vesperis et Completorio. Officii Romani. Cum supplemento pro aliquibus locis.Codex 239 de la bibliothèque de Laon, Antiphonale missarum sancti Gregorii (s. IX-X) ISBN 978-2-85274-146-1 [13] Le répons-graduel Justus ut palma reproduit en fac-similé d'après plus de deux cents antiphonaires manuscrits d'origines diverses du IXe au XVIIe siècle, deuxième partie

Antiphonale Romanum juxta Breviarium. Sacrosancti Concilii Tridentini restitutum. A. Clemente VIII. Maximo nuper recognitum. Parisiis, Apud Societatem Typographicam librerum Ecclesiasticiex Decreto Concilii Tridentini Via Iacobaea.

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Associated somewhat in scope with the "Antiphonarium" is the "Directorium Chorii", which has been described as furnishing the ground plan for the antiphonary, inasmuch as it gives or indicates all the music of the chants (except the responsories after the Lessons), the tones of the psalms, the brief responsories, the " Venite Exultemus", the " Te Deum", Litanies etc. The text of all the psalms, the full melody of the hymns, and the new feasts were added to the "official edition" of the "Directorium" in 1888.

Mocquereau was succeeded as editor of Paléographie Musicale by his leading disciple, Joseph Gajard (1885-1972) in 1930.Antiphonarium seu Vesperale Romanum una cum Officio trium posteriorum dierum hebdomadae majoris editum ad usum Dioecesis Basileensis jussu. Joseph Antonii Episcopi Basileensis. In the course of time new melodies were added, at first characterized by the simplicity of the older tradition, but gradually becoming more free in extended intervals. With respect to German manuscripts, the earliest are found in a style of neumatic notation different from that of St. Gall, while the St. Gall manuscripts are derived not directly from the Italian but from the Irish-Anglo-Saxon. It is probable that before the 10th and 11th centuries (at which period the St. Gall notation began to triumph in the German churches) the Irish and English missionaries brought with them the notation of the English antiphonary.