. 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.
