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antiphony

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antiphony

Music exploiting directional and canonic opposition of widely spaced choirs or groups of instruments to create perspectives in sound. It was developed in 17th-century Venice by Giovanni Gabrieli and in Germany by his pupil Heinrich Schütz and Roland de Lassus; an example is the double-choir motet Alma Redemptoris Mater (1604). The practice was revived in the 20th century by Béla Bartók, Karlheinz Stockhausen, and Luciano Berio.



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If my work is faithfully to reflect the aesthetic tradition of Afro-American culture, it must make conscious use of the characteristics of its art forms and translate them into print: antiphony, the group nature of art, its functionality, its improvisational nature, its relationship to audience performance, the critical voice which upholds tradition and communal values and which also provides occasion for an individual to transcend and/or defy group restrictions.
We use the word differently, but clearly do we see that the old sense leads commonsensically to the new, and the antiphony thus set off between the two enriches the word for us today.
He shows that "throughout the centuries of slavery and long after emancipation their song style, with its over-riding antiphony, its group nature, its pervasive functionality, its improvisational character, and its strong relationship in performance to dance and bodily movement and expression, remained closer to the musical styles of West Africa and the Afro-American music of the West Indies and South America than to the musical style of Western Europe.
 
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