Antiphonarium Romanum: ad ritum Breuiarij ex decreto sacros. Concilij Tridentini restituti. Front Cover. Chiesa cattolica. apud Iuntas(IS), Giunta, – An Antiphonary is one of the liturgical books intended for use in choro and originally . This “Antiphonarium Romanum compendiose redactum ex editionibus. Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only.

Author: JoJobar Kajinris
Country: Myanmar
Language: English (Spanish)
Genre: Relationship
Published (Last): 1 September 2006
Pages: 139
PDF File Size: 9.81 Mb
ePub File Size: 9.99 Mb
ISBN: 610-9-28686-191-4
Downloads: 22118
Price: Free* [*Free Regsitration Required]
Uploader: Daihn

An Antiphonary is one of the liturgical books intended for use in choro i. In current usage Antiphoner refers more narrowly to books containing the chants for the Divine Office in distinction to the Gradual Graduale or more rarely antiphonarium Missarumwhich contains the antiphons used for the Mass.

The discussion below is almost entirely drawn from the article in the Catholic Encyclopedia. Subsequent developments have been the replacement of the Ratisbon editions with the Vatican edition of and the publication of the Antiphonale monasticum produced by the Benedictines of SolesmesIn the Office was substantially revised and renamed the Liturgy of the Hours Liturgia Horarum and new books appeared: An Antiphonary may also be called an Antiphonal, Antiphony or Antiphoner.

It thus included generically the antiphons and antiphonal chants sung by cantor, congregation, and choir at Mass antiphonarium Missarumor graduale and at the canonical Hours antiphonarium officii ; but now it refers only to the sung portions of the Divine Office or Breviary. Other English equivalents for antiphonary are antiphonar still in reputable use and antiphoner considered obsolete by some English lexicographers, but still sometimes used in current literature. In the ” Prioress’ Tale ” of Chaucer it occurs in the form “antiphonere”:.

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

In its present meaning it has also been variously and insufficiently defined as a “Collection of antiphons in the notation antiphonsrium Plain Chant”, and as a liturgical book containing the antiphons “and other chants”. In its present complete form it contains, in plain-chant notation, the music of all the sung portions of the Roman Breviary immediately placed with the texts, with the indications of the manner of singing such portions as have a common melody such as versicles and responses, the Psalms, the Lessons, the Chapters.

But the Lessons of Matins First Nocturn in the triduum of Holy Week, styled “Lamentations”, have a melody proper to themselves, which is not therefore merely indicated but is placed immediately with the texts of the Lessons. The first of these volumes to be issued, entitled: It comprised zntiphonarium one volume what in some editions had been distributed in several, such as the “Antiphonarium” in a very restricted sensethe “Psalterium”, the “Hymnarium”, antipbonarium “Responsoriale”.

The Office of Matins was divided into the other two volumes, one of which contained the invitatories, antiphons, hymns, etc.

A brief study of the divisions and arrangement of the Marquess of Bute ‘s translation into English of the Roman Breviary will make clear from the above description the general character antiphonarimu a complete Roman antiphonary. It is suggested by some that this Ratisbon edition has lost its authentic and official character by virtue of the ” Motu proprio ” 22 Novemberand the Decree of the Sacred Congregation of Rites 8 January In order to show as clearly as possible the exact position of the antiphonary as the word is now [ when?

While in the Missal, the introitsgradualstractssequencesoffertories, communions, as well as the texts of antiphhonarium KyrieGloriaCredoSanctusand Agnus Dei are both read by the celebrant and sung by the choir, their notation is not given, only the accentus or chants, of the celebrant and deacon have the music furnished such as the intonations of the Gloria, the Credo, the chants of the various Prefaces, the two forms of the Pater Nosterthe various forms of the Ite, or Benedicamus, the Blessing of the Font, etc.

The omitted chants styled concentuswhich are to be sung by the choir, are contained in a supplementary volume called the “Graduale” antiphknarium “Liber Gradualis” anciently the “Gradale”. 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.

Just as the “Liber Gradualis” and the “Antiphonarium” are, for the sake of convenience, separated from the Missal and Breviary respectively, so, for the same reason, still further subdivisions have been made of each. Into those of the “Graduale” we need not enter.

The “Antiphonarium” has been issued in a compendious form “for the large number of churches in which the Canonical Hours of the Divine Office are sung only on Sundays and Festivals”. This “Antiphonarium Romanum compendiose redactum ex editionibus typicis” etc. Another separate volume is the “Vesperal”, which contains also the Office of Compline ; and of the “Vesperal” a further compendium has antophonarium issued, entitled “Epitome ex Vesperali Romano”.

All the above volumes are in the Ratisbon edition.

Antiphonarium Romanum | The Online Books Page

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 Lessonsthe 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 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 per sesuch as hymns, responsories, versicles, and responses, psalms, the ” Te Deum ,” the ” Venite Adoremus ,” and so forth.


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. It may be said, then, that these two books receive the names “Antiphonarium” and “Graduale” from the technical name of the most important chants included in them. Fundamentally all the chants, whether of the Mass or of the Divine Office, are sung antiphonally, and might, with etymological propriety, be comprised in the one general musical title of “Antiphonary.

The plainsong melodies found in the Roman antiphonary and the “Graduale” have received the general title of ” Gregorian Chant “, in honour of pope Antiphonariium the Greatto whom a tradition, supported by internal and external evidence, ascribes the work of revising and collecting into the various texts and chants of the liturgy.

The importance of the Antiphonariium Antiphonary is found in the enduring stamp it impressed on the Roman liturgy. Other popes gave, a romaum writer assures us, attention to the chants; and he specifies St. John I and Boniface II.

It is true, also, that anti;honarium chants used at Milan were styled, in honour of St. But rojanum is not known whether any collection of the chants had been made before that of St. Gregory, concerning which his ninth-century biographer, John the Deacon, wrote: Antiphonarium centonem … compilavit.

The authentic antiphonary mentioned by the biographer has not as yet been found. What was its character? What is meant by cento? In the century in which John the Deacon wrote his life of the Saint, a cento meant the literary feat of constructing a coherent poem out of scattered excerpts from an ancient author, in such wise, for example, as to make the verses of Virgil sing the mystery of the Epiphany.

The work, then, of St. Gregory was a musical cento, a compilation centonem … roomanum of pre-existing material into a coherent and well-ordered whole. This does not necessarily imply that the musical centonization of the melodies was the special and original work of the Saint, as the practice of constructing new melodies from separate portions of older ones had already been in vogue two or three centuries earlier than his day.

But is it clear that the cento was one of melodies as well as of texts? In answer it might indeed by said that in the earliest ages of the Church the chants must have been so very simple in form that they could easily be committed to memory; and that most of the subsequently developed antiphonal melodies could be reduced to a much smaller number of types, or typical melodies, and could thus also be memorized.

And yet many [ who? Gregory’s time had never possessed a musical notation, had never been committed to writing. What made his antiphonary so very useful to chanters as John the Deacon esteemed it was probably his careful presentation of a revised text with a revised melody, written either in the characters used by the ancient authors as set down in Boethius or in neumatic notation.

We know that St. Augustine, sent to England by the great Pope, carried with him a copy of the precious antiphonary, and founded at Canterbury a flourishing school of singing. It is impossible to trace here the progress of the Gregorian antiphonary throughout Europe, which resulted finally in the fact that the liturgy of Western Europe, with a very few exceptions, finds itself based fundamentally on the work of St.

Briefly, the next highly important step in the history of the antiphonary was its introduction into some dioceses of France where the liturgy had been Gallicanwith ceremonies related to those of Milan and with chants developed by newer melodies.

From the year may be antiphonariun the change in favour of the Roman liturgy. ChrodegangBishop of Metzon his return from an embassy to Rome, introduced the Roman liturgy into his diocese and founded the Chant School of Metz. Subsequently, under CharlemagneFrench monks went to Rome to study the Gregorian tradition antiphonarijm, and some Roman teachers visited France. The interesting story of Ekkehard concerning Petrus and Romanus is not now credited, but a certain Petrus, according to Notkerwas sent to Rome by Charlemagne and at the Abbey of St.


Gall trained the monks in the Roman style. Besides Metz and St. Gall, other important schools of chant were founded at Rouen and Soissons. 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 antiiphonarium derived not directly from the Italian but from the Irish-Anglo-Saxon. It is probable that before the tenth and eleventh centuries at which period the St. Gall notation began to romsnum in the German churches the Irish and English missionaries brought with them the notation of the English antiphonary.

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.

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 Corbieand placed romanu 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. Antiphonariim changes in the “Graduale” were few; in the antiphonary, many.

Part of the revision which, together with Elisagarushe made in the responsories as against rkmanum Roman method, were finally adopted in the Roman antiphonary. In the twelfth century the commission established by St.

Bernard to revise romsnum antiphonaries of Citeaux criticized with undue severity the work of Amalarius and Elisagarus and withal produced a faulty antiphonary for the Cistercian Order. The multiplication of antiphonaries, the differences in style of notation, the variations in melody and occasionally in text, need not be further described here. Gall, of Hartker, of Montpellier, of the twelfth-century monastic antiphonary found in the library of the Chapter of Lucca, which in course of publication illustrates the Guidonian notation that everywhere replaced, save in the school of St.

Antiphonarium Romanum, 1748, Évora

Gall, the ambiguous method of writing the neums in campo apertoas well as the proposed publication in facsimile by the Benedictines antphonarium Stanbrook, of the thirteenth- century Worcester antiphonary Antiphonale Monasticum Wigarniense it is not necessary to speak in detail. This appeal to early tradition has resulted in Pius X taking away its official anhiphonarium from the Ratisbon edition. The Ratisbon “Graduale”, founded on the Medicean which gave antiphoharium chants as abbreviated and changed by Anerio and Surianoand the “Antiphonarium” which was based on the Antiphonale of Venice,with the responsories of Matins based on the Antwerp edition ofwould be replaced by the chants as found in the older codices.

That the word antiphonarium is, or was, quite elastic antiphonatium its application, is shown by the remark of Amalarius in his Liber de ordine Antiphonariiwritten in the first half of the ninth century. The work which in Metz was called “Antiphonarius” was divided into three in Rome: The remainder they divide into two parts: I have followed our custom, and have placed together mixtim the responsories and the antiphons according romankm the order of the seasons in which our feasts are celebrated” P.

The word “cantatory” explains itself as a volume containing chants; it was also called “Graduale”, because the chanter stood on a step gradus of the ambo or pulpit, while singing the response after the Epistle. Other ancient names for the antiphonary seem to have been Liber Officialis Office Book and “Capitulare” a term sometimes used for the book containing the Epistles and Gospels.

The changes in the antiphonary resulting from the reform of the Roman Breviary ordered by the Council of Trent and carried out under Pius V is treated under Breviary. The term antiphonarium, printed as a title to many volumes, is made to cover a very varied selection from antjphonarium complete antiphonary.

Sometimes it means practically a “Vesperale” sometimes with Terce added; sometimes with various processional chants and blessings taken from the “Processionale” and “Rituale”.

These volumes meet the local usages in certain dioceses with respect to Church services, and offer a practical manual for the worshipper, excluding portions of the Divine Office not sung in choir in some places and including those portions which are sung. See also names of Antiphonaries, as Armagh, Antiphonary of Bangor etc. From Wikipedia, the free rlmanum. Arranged at Rome under the supervision of the Sacred Congregation of Rites. Sacramentsritesand liturgies of the Catholic Church.

Antiphonarium romanum (Nivers, Guillaume-Gabriel)

Matins nighttime Lauds early morning Prime first hour of daylight Terce third hour Sext noon Nones ninth hour Vespers sunset evening Compline end of the day.

Ecclesiastical Antiphoharium Latin Mass. Retrieved from ” https: