antiphonary
antiphoner

The Bangor Antiphonary gives sets of collects to be used at each hour.

The Antiphonary gives twelve hymns of which eight are not found elsewhere, and ten are certainly intended for liturgical use.

The Bangor Antiphonary also gives a set.

The word Antiphonary had in the earlier Middle Ages sometimes a more general, sometimes a more restricted meaning.

The other books associated with it were the Lectionary, the Antiphonary, and Responsoriale, and the Hymnary.

(See also names of Antiphonaries, as Armagh, Antiphonary of Bangor etc.)

As it is sung daily, the Vatican Antiphonary gives it many plainsong settings for the varieties of season and rite (e.g. the nine melodies, pp.

The Antiphonary of Bangor proves that Ireland accepted the Gallican version in the 7th century, and the English Church did so in the 10th.

Agobard wrote three works against Amalarius: On Divine Psalmody, On the Correction of the Antiphonary, and Liber officialis.

There are plainsong melodies (a simple and an ornate form) associated with Regina Caeli, the official or "typical" melody being found in the Vatican Antiphonary, 1911, p. 126.

In the Bangor Antiphonary is a hymn of eleven four-lined stanzas, "Sancti venite, Christi corpus sumite", entitled "Ymnus quando comonicarent sacerdotes".)

The Gregorian Antiphonary was an early Christian antiphonary, i.e. book of choral music to be sung antiphonally in services; it is associated traditionally with Pope Gregory I.

The name has been extended to books which contain in one volume, or at least in one work, liturgical books of different kinds, such as the Psalter, the Antiphonary, the Responsoriary, the Lectionary, etc.

It contained all necessary prayers for the celebration of the Mass, which until then had to be taken from different books - the Sacramentary, Lectionary, Evangelistary, Antiphonary, and Gradual (Zaccaria, "Bibl.

A little, also, may be gleaned from the St. Gall fragments, the Bangor Antiphonary, and the order for the Communion of the Sick in the Books of Dimma, Mulling, and Deer.

As Giovanni di Paolo helped to illustrate the noble Antiphonary, which is featured in the section of the show that is devoted to illuminated manuscripts, we can be certain that the Augustinian hermitage had a special importance for him.

(7) The Antiphonary, giving the text and music for the parts of the Office sung outside of the Mass. (8) The Gradual, which contained the words and the music for the parts of the Mass sung by the choir.

In the 6th century St. Benedict gives a detailed description of them in his Rule: the Psalms (almost identical with those of the to reconstruct it in accordance with the Antiphonary of Bangor, but this document may not give the complete Office.

The expression "antiphonal chant" would, however, comprise all these different kinds of texts and chants, since they are so constructed as to be sung alternately by the two divisions of the liturgical choir; and in this sense the word Antiphonary would be sufficiently inclusive in its implication.

The word Antiphonary does not therefore clearly describe the contents of the volume or volumes thus entitled, in which are found many chants other than the antiphon (technically so called), such as hymns, responsories, versicles, and responses, psalms, the "Te Deum", the "Venite Adoremus", and so forth.