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Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.6

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Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.7

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Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.8

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Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.9

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Antiphon 5. Other antiphons in the Gregorian repertory. (i) Antiphons to the Psalter.: Ex.13

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Antiphon 5. Other antiphons in the Gregorian repertory. (i) Antiphons to the Psalter.: Ex.14

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Antiphon 5. Other antiphons in the Gregorian repertory. (iii) Antiphons to the ‘Benedictus’ and ‘Magnificat’.: Ex.15

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Antiphon 5. Other antiphons in the Gregorian repertory. (iii) Antiphons to the ‘Benedictus’ and ‘Magnificat’.: Ex.16

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Antiphon from the Oldest Surviving Office of St Valeria of Limoges

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Laurence Libin

Division of an organ, whose chest and pipes are spatially separated from the main pipework so as to create an antiphonal effect when this division is played in alternation with others. Further, this division can be coupled to others for simultaneous playing that surrounds listeners with sound emanating from different locations. Antiphonal ranks need not have a dedicated manual but, in modern organs, often ‘float’ among several manuals by means of console controls. Development of the Antiphonal division was facilitated beginning in the late 19th century by electric and electropneumatic actions that simplify spatial separation of an organ’s components. However, it remained uncommon and nowadays normally appears only in large instruments. The term is also applied to a separate, independent, sometimes moveable organ, subsidiary to the main one in a building and played from its own console....

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