AN on Music Theory Print

Anarcho-punk

Mon, 01 Jan 0001 00:00:00 +0000

Forerunners#

During the 1960s to early 1970s, some artists who were later retroactively described as “proto-punk” became influenced by New Left or anarchist ideology, which included David Peel who was associated with the Yippie movement, alongside bands such as the MC5, the Fugs, the Edgar Broughton Band, Mick Farren’s the Deviants, Pink Fairies and Hawkwind. These bands set a precedent for mixing radical politics with rock music and established the idea of rock as an agent of social and political change in the public consciousness. Other influences include avant-garde art and political movements such as Fluxus, Dada, the Beat Generation, Youth International Party, England’s angry young men (such as Joe Orton), the surrealism-inspired Situationist International, the 1967 March on the Pentagon, the May 1968 uprising in Paris, and the Campaign for Nuclear Disarmament. Jello Biafra of the Dead Kennedys has cited the Yippies as an influence on his activism and thinking.

Anatolian blues

Mon, 01 Jan 0001 00:00:00 +0000

History#

After the 1970s, blues and jazz music became more common and have been started to use with the traditional folk music, Türküs, this has led to the Anatolian blues genre to born in Turkey.

Musicians and musical groups#

Yavuz Çetin
Can Gox
Murat Ertel
Asım Can Gündüz
Evrencan Gündüz ;Groups
Blue Blues Band
Gevende
Eis Ten Polin
Bangkok B.B.
Better Blues Band
Bluesaint Blues Band
Blues-Mobil
Bluestaff
Fötr Blues Band
Kingus Blues Band
Lackawanna Soul & Blues Band
Tarık Değirmenci Blues Band
Sahte Rakı Blues Band
Yiğitcan Sağır Trio

Anatolian rock

Mon, 01 Jan 0001 00:00:00 +0000

Background (1930s-1960s)#

Anatolian rock has a long history that dates back to the founding of the Turkish Republic decades ago. Atatürk pushed extensive changes to build a national form of music from the early 1930s forward. He believed that music should be based on national and modern foundations and musicians should work on Turkish melodies and make them polyphonic according to the rules of Western harmonic music. As a result, Anatolian folk music began to spread and people began to listen to Anatolian folk tunes instead of Ottoman music. In the 1960s, rock and roll began to be played and rock groups such as the Beatles, the Rolling Stones, Led Zeppelin, Yes, Status Quo and Omega became popular especially in Istanbul. It began to spread and became popular among the elite youth of the city. In Istanbul, high school and university students began forming their own bands and performing covers of rock’n’roll and twist music in 1957. Students who would become famous singers later, such as Barış Manço from Galatasaray High School and Erkin Koray from German High School, performed at an amateur concert they had organized, which is known as the first rock’n roll concert of Turkey. Turkish singers such as Erol Büyükburç began to release English-language cover versions of American songs, as well as their own songs.

Ancient Celtic music

Mon, 01 Jan 0001 00:00:00 +0000

The Celts and Greco-Roman music#

In 54 BC Cicero wrote that he “did not fancy” there were any musically educated people on the British isle. Independent of the validity of Cicero’s remark, the situation was different for the Gallic regions. By the time of Augustus, musical education had widely gained ground in Gaul, as Iulius Sacrovir used the erudite Gauls as a decoy, after Sacrovir and Iulius Florus had occupied the city of Augustodonum during the Gallic insurrection in 21 AD. The Gauls took great pride in their musical culture, which is shown by the remark of Gaius Iulius Vindex, the Gallic rebel and later senator under Claudius, who shortly before the arrival in Rome called emperor Nero a malus citharodeus (“bad cithara player”) and reproached him with inscitia … artis (“ignorance of the arts”). However, Celtic music culture was spread inhomogeneously over Europe: Maximinus Thrax, the Thracian-Roman emperor of Gothic descent, annoyed his fellow Romans because he was unable to appreciate a mimic stage song.

Ancient music

Mon, 01 Jan 0001 00:00:00 +0000

Egypt#

Music has been an integral part of Egyptian culture since antiquity. The goddess Bat was credited with its invention, although she was later syncretized with the goddess Hathor. According to myth, Osiris used Hathor’s music to civilize humanity. Evidence of Egyptian musical instruments dates back to the Predynastic period, Predynastic period, but becomes more substantial in tomb paintings from the Old Kingdom (), in which harps, end-blown flutes (held diagonally), and single and double reed pipes similar to clarinets are depicted. Percussion instruments and lutes had been added to musical ensembles by the Middle Kingdom. Bronze cymbals from the Roman period (30 BCE–641 CE) have been discovered at a tomb site near Naucratis. Scholars have attempted to reconstruct the sound of ancient Egyptian instruments by analyzing the hole placement on flutes and reed pipes, and by reconstructing the stringing of lyres, harps, and lutes. However, only the Tutankhamun trumpets and some percussion instruments provide a partial idea of their actual sound. Most theories about how ancient Egyptian music sounded remain speculative. The sistrum, a ritual rattle used in religious ceremonies, was a prominent percussion instrument in ancient Egypt.

Ancient Tamil music

Mon, 01 Jan 0001 00:00:00 +0000

Sangam music#

The Sangam age grammatical work Tolkappiyam mentions the various music pertaining to the five landscapes (thinai) of the Sangam literature. The five landscapes are associated with a particular mood of the poem and to give colour to these moods, each had a musical mood (pann), a melodic instrument (yaazh) and a percussion instrument (parai). For example, the neithal thinai, which dealt with the incidents around the seashore and the theme of elopement, had the musical mood of sevvazhi, Vilari yaazh as the musical instrument and the navayapambai for the percussion. Tolkappiyam also mentions the musical form known as Paattu Vannam and various types of songs like Asiriapattu, Neduven pattu, Adivarai, Seer, Ahaval Osai and Vellosai, which are classified on the basis of the musical quality, metrical structure etc. Most of the Sangam age poetry used one or more of these meters in their compositions. Poems of the Ettuthohai anthology, such as the Natrinai, Paripaatal and Kaliththokai are extensively musical in nature and use various panns to create the mood.

Andalusi classical music

Mon, 01 Jan 0001 00:00:00 +0000

History#

Andalusi music was allegedly born in the Emirate of Córdoba (Al-Andalus) in the 9th century. Born and raised in Iraq, Ziryâb (d. 857), who later became court musician of Abd al-Rahman II in Córdoba, is sometimes credited with its invention. Later, the poet, composer, and philosopher Ibn Bajjah (d. 1139) of Saragossa is said to have combined christian music with muslim music to produce a wholly new style that spread across Iberia and North Africa. By the 10th century, Muslim Iberia had become a center for the manufacture of musical instruments. These spread gradually to Provence, influencing French troubadours and trouvères and eventually reaching the rest of Europe. The English words lute, rebec, guitar, and naker derive from the Arabic oud, rabab, qithara and naqareh, although some Arabic terms (qithara, for example) had been derived in their turn from Vulgar Latin, Greek and other languages like Persian. Aḥmad al-Tifāshī (d. 1253) in his encyclopedic work Faṣl al-khiṭāb fī madārik al-ḥ awāss al-khams li-ʾūlī l-albāb () divided the Andalusi musical tradition into four types: nashīd, ṣawt, muwashshaḥ, and zajal. A nashīd was classical monorhyme poem consisting of istihlal ( – a precomposed vocal prelude, probably with instrumental response) and ʿamal ( – a composition combining vocal and instrumental elements). Some of the muwashshaḥāt had lyrics that fit their melodies (sometimes through melisma), while others had improvised nonsense syllables to fill out the melodic line—a practice that survives to the present with relevant sections labeled as shughl ( ‘work’) in songbooks. Moreover, these migrants from the 13th century on encountered ethnic Andalusi communities that had migrated earlier to North Africa, which helped this refined music to take root and spread among wider audiences.

Andalusi nubah

Mon, 01 Jan 0001 00:00:00 +0000

Form, texts, and performance#

According to tradition, there were initially 24 nubat, one for each hour of the day. Each nuba must have a duration of 1 hour. Lyrics are sung by a soloist or in unison by a chorus, and are chosen from the muwashshah or zajal poetic forms, which are in classical and colloquial Arabic, respectively. An andalusi nubah uses one tab (similar to a maqam, or mode) per performance, and includes several instrumental pieces as well as predominantly vocal pieces accompanied by instrumentation. These differ as to mizan (pl. mawazin) or rhythmic pattern (wazn, pl. awzan). Formally the tempo increases while the awzan simply within each of five sections, called mawazin. The sections are introduced by short instrumental pieces and vary according to region, the name of a section indicating the wazn used: *in Algeria (12 nubah and 4 incomplete): *in Tunisia (13 nubah): *in Morocco (11 nubah): The instrumental ensemble used includes the ud, rabab, Maghreb rebab or rebec, nay, qanun, tambourine, and a goblet drum called darbuka. The instrumentalists also serve as chorus.

Andean music

Mon, 01 Jan 0001 00:00:00 +0000

Instruments#

The panpipes group include the sikú (or zampoña) and Antara. These are ancient indigenous instruments that vary in size, tuning, and style. Instruments in this group are constructed from aquatic reeds found in many lakes in the Andean region of South America. The sikú has two rows of canes and are tuned in either pentatonic or diatonic scales. Some modern single-row panpipes modeled after the native antara are capable of playing full scales, while traditional sikús are played using two rows of canes wrapped together. It is still commonplace for two performers to share a melody while playing the larger style of sikú called the toyo. This style of voicing with notes interspersed between two musicians is called playing in hocket and is still in use today in many of the huaynos traditional songs and contemporary Andean music. Quenas (notched-end flutes) remain popular and are traditionally made out of the same aquatic canes as the sikús, although PVC pipe is sometimes used due to its resistance to heat, cold and humidity. Generally, quenas are played only during the dry season, while vertical flutes, either pinkillos or tarkas, are played during the wet season. Tarkas are constructed from local Andean hardwood sources. Marching bands dominated by drums and panpipes are commonplace today and are used to celebrate weddings, carnivals and other holidays.

Anglican chant

Mon, 01 Jan 0001 00:00:00 +0000

Method#

The text is pointed for chanting by assigning each verse or phrase to a simple harmonised melody of 7, 14, 21 or 28 bars (known respectively as a single, double, triple or quadruple chant). An example of a single chant is shown above. Below are the first four verses of the Magnificat, with the text coloured to show which words correspond to which notes in the music (“the chant”). :1. My soul doth ’ magnify the ’ Lord : And my spirit hath re ’ joiced in ’ God my ’ Saviour . :2. For ’ he hath re ’ garded : the ’ lowli ness ’ of his ’ handmaiden . :3. For be ’ hold from ’ henceforth : all gene ’ rations shall ’ call me ’ blessed . :4. For he that is mighty hath ’ magni fied ’ me : and ’ ho ly ’ is his ’ Name . Various psalters have been published over the years, with each one showing how the chant is to be fitted to the words and each having its own variation on the precise rules for doing so. The rules used in the Parish Psalter (one of the more popular psalters, edited by Sydney Nicholson) are as follows: * Each verse is sung to seven bars of music (the whole chant in the example above, though most chants are 14 bars = 2 verses long) * The bar lines in the music correspond to the “pointing marks” which are shown above as inverted commas or apostrophes in the text. * The double bar line in the music corresponds to the colon in the text. * Where there is one note (a semibreve) to a bar, all the words for the corresponding part of the text are sung to that one note. * Where there are two notes (two minims) to a bar, unless indicated otherwise all the words except the last syllable are sung to the first minim. The final syllable is sung to the second minim. Where more than the last syllable is to be sung to the second minim, a dot (·) (between words) or a hyphen (within a word) is used in the text to indicate where the note change should occur. Other psalters use different notation; modern psalters such as the New St Paul’s Cathedral Psalter (John Scott, 1997) have adopted the following convention: * A vertical bar ( ) is used to indicate a barline. * Whenever there are 3 or more syllables in a bar containing two minims, a dot (·) or hyphen is used, even if the change of note is on the final syllable. There are various additional rules which apply occasionally: * Some chants have more complicated rhythms than the example above, generally in the form of a dotted minim and a crotchet (in any bar except the last of a quarter) or of two crotchets taking the place of a minim. * When a minim in an internal bar (i.e. not the first or last bar of a quarter) is replaced by two crotchets, one of two things happens. If there is only one syllable, both notes are sung to it in quick succession. If there are two (or occasionally more) syllables, they are split as appropriate to smoothly match the rhythm of the words to the two notes. * When an internal bar has a dotted rhythm, it is to be sung as above, excepting that the crotchet can be omitted from the music if the natural rhythm of the words and the sentiment of the words indicate that it is appropriate to do so. * When the first bar of a quarter has a dotted minim and a crotchet, all syllables except the last are sung to the note of the dotted minim, with the crotchet being tucked in on the last syllable before the barline. If there is only one syllable, both notes are sung to it in quick succession with the subtle emphasis being on the first note. * Sometimes the last bar of a quarter has two minims instead of the usual semibreve, in which case a dot/hyphen may be required after the last barline in the text: (e.g. even as ’ though they ’ were mine ’ ene-mies.) * Particularly in long psalms, changes of chant may be used to signal thematic shifts in the words. Psalm 119, which is the longest in the psalter, is generally sung with a change of chant after every 8 of its 176 verses, corresponding to the 22 stanzas of the original Hebrew text. However, it is never sung all at once, but spread over successive days.

Anglican church music

Mon, 01 Jan 0001 00:00:00 +0000

Forms#

The chief musical forms in Anglican church music are centred around the forms of worship defined in the liturgy.

Service settings#

Service settings are choral settings of the words of the liturgy. These include: ; The Ordinary of the Eucharist : Sung Eucharist is a musical setting of the service of Holy Communion. Naming conventions may vary according to the churchmanship of the place of worship; in churches that tend towards a low church or broad church style of worship, the terms Eucharist or Communion are common, while in high church worship, the more Catholic term Mass may be used. Musical pieces corresponding to the liturgical pattern of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus & Benedictus, Agnus Dei) may be sung by the choir or congregation. Many English-language settings of the communion service have been written, such as those by Herbert Howells and Harold Darke; simpler settings suitable for congregational singing are also used, such as the services by John Merbecke or Martin Shaw. In high church worship, Latin Mass settings are often preferred, such as those by William Byrd. ; Morning Service : The Anglican service of morning prayer, known as Mattins, is a peculiarly Anglican service which originated in 1552 as an amalgam of the monastic offices of Matins, Lauds and Prime in Thomas Cranmer’s Second Prayer Book of Edward VI. Choral settings of the Morning Service may include the opening preces and responses (see below), the Venite, and the morning canticles of Te Deum, Benedicite, Benedictus, Jubilate and a Kyrie. ; Evening Service : Evening Prayer, also known as Evensong, consists of preces and responses, Psalms, canticles, hymns and an anthem (see below). The evening canticles are the Magnificat and the Nunc Dimittis, and these texts have been set to music by many composers. Herbert Howells alone composed 20 settings of the canticles, including his Collegium Regale (1944) and St Paul’s (1950) services. Like Mattins, Evensong is a service that is a distinctively Anglican service, originating in the Book of Common Prayer of 1549 as a combination of the offices of Vespers and Compline. Choral Evensong is sung daily in most Church of England cathedrals, as well as in churches and cathedrals throughout the Anglican Communion. It is noted for its particular appeal to worshippers and visitors, attracting both believers and atheists with its meditative quality and cultural value. A service of Choral Evensong is broadcast weekly on BBC Radio 3, a tradition begun in 1926.

Anime song

Mon, 01 Jan 0001 00:00:00 +0000

1930–1970: Early influences#

The Dull Sword (1917), by Jun’ichi Kōuchi, is regarded as the earliest surviving animated film in Japan. Noburō Ōfuji’s Kuroi Nyago (1929) is the first Japanese animated work to include music. The film includes characters dancing to a prerecorded song, retroactively seen as the prototype of anime songs. Following World War II, the 1950s and 1960s saw a revival in entertainment and cultural development. In 1963, Astro Boy premiered and subsequently, the theme song “Theme of Astro Boy” became well-known to the Japanese public due to it being used as the departure song at Takadanobaba Station. The song was also notable due to the lyrics being written by poet Shuntarō Tanikawa.

Answer song

Mon, 01 Jan 0001 00:00:00 +0000

Pre-1950s#

Sir Walter Raleigh and Christopher Marlowe traded life philosophies on the battlefield of poetry, namely, “The Passionate Shepherd To His Love” (1599) and “The Nymph’s Reply To The Shepherd” (1600).
The sentimental Irish ballad, “I’ll Take You Home Again, Kathleen” (1875) by Thomas Westendorf was written as a reply to the earlier “Barney, Take Me Home Again” by George W. Persley.
“I Wonder Why Bill Bailey Don’t Come Home” was written by William Jerome and recorded by Arthur Collins in 1902 as an answer to “Bill Bailey, Won’t You Please Come Home”, published by Hughie Cannon and recorded by Collins earlier the same year.
“I Used to Be Afraid to Come Home in the Dark” was recorded by Billy Murray in 1909 as a response to his own 1908 hit, “I’m Afraid to Come Home in the Dark”.
The popularity of the 1923 song “Yes! We Have No Bananas” was answered that same year by “I’ve Got The Yes! We Have No Banana Blues” with lyrics by Lew Brown, composed by Robert King and James F. Hanley. The song referred to the ubiquity and nonsense lyrics of the original. Eddie Cantor, Eva Taylor, Isabelle Patricola, and Belle Baker all sang on releases of this song.
Patsy Montana’s “I Want to Be a Cowboy’s Sweetheart” (written 1934, recorded 1935), the first million seller hit by a female country artist, was an answer to Stuart Hamblen’s “Texas Plains”.
Woody Guthrie’s anthem “This Land Is Your Land” was written in 1940 as an answer to “God Bless America”, written by Irving Berlin in 1918 (and revised in 1938). Guthrie originally called his response “God Blessed America for Me”.

1950s#

“Where’s-a Your House”, written and recorded by Robert Q. Lewis in 1951, was a response to Rosemary Clooney’s “Come on-a My House” of the same year.
“It Wasn’t God Who Made Honky Tonk Angels”, written by J. D. “Jay” Miller in 1952 and originally sung by Kitty Wells, was a response to “The Wild Side of Life”, made famous that same year by Hank Thompson.
“Mannish Boy” (1955) by Muddy Waters was a response to Bo Diddley’s “I’m a Man”, which also happened to be a response to “I’m Your Hoochie Coochie Man”, an earlier song by Muddy Waters in 1954.
“Hot Rod Lincoln” (1955) is Charlie Ryan’s response to “Hot Rod Race”, (1950) Arkie Shibley and His Mountain Dew Boys and is arguably the more well known of the two songs.
“Bark, Battle and Ball” (1955) recorded by The Platters, was in response to the Bill Haley and His Comets version of “Shake, Rattle and Roll”, recorded in 1954.
“Can’t Do Sixty No More”, written and performed by The Dominoes, was a response to their own hit song from four years earlier (1951), “Sixty Minute Man”.
One of the longest answer record cycles was started by Hank Ballard and The Midnighters’ (1954) R&B hit “Work with Me, Annie”, and its sequel song “Annie Had a Baby” (1954). Answer songs include “Annie’s Answer” (1954) by The El Dorados, “Annie Pulled a Humbug” (1954) by the Midnights, “Wallflower (Roll With Me Henry)” (1955) by Etta James, and “I’m the Father of Annie’s Baby” (1955), by Danny Taylor. The Midnighters also recorded an “answer to the answer”: “Henry’s Got Flat Feet (Can’t Dance No More)” (1955).
“Nothing Can Replace A Man” (1955) from the musical Ankles Aweigh bills itself in its verse as an answer to Rodgers and Hammerstein’s “There Is Nothing Like a Dame” (1949).
“I Shot Mr. Lee” (1958) was The Bobbettes’ response to their own 1957 hit, “Mr. Lee”.
“That Makes It” was Jayne Mansfield’s response to The Big Bopper’s “Chantilly Lace” (1958), suggesting what the girl may have been saying at the other end of the line.
“Oh Neil!” was Carole King’s response to Neil Sedaka’s “Oh! Carol” (1959); Sedaka and King were both co-workers and friends since high school.
“Short Mort” (1959) by Carole King was a response to Annette Funicello’s “Tall Paul” (1959), referencing “Tall Paul” in the line, “You can keep Tall Paul, I’ll take Short Mort.”
“Return of the All-American Boy” (1959) by Billy Adams was a response to the 1958 smash “The All American Boy” by Bill Parsons (aka Bobby Bare).
“I Got a Job” (1957) by The Miracles, “I Found a Job” by The Heartbeats (1958), “I Got A Job” by The Tempos, and “I Got Fired” by The Mistakes, were all responses to The Silhouettes’ self-penned chart-topper Get a Job (1957).
“Answer To The Pub With No Beer” (1958) by Slim Dusty, was a direct response to Dusty’s song A Pub With No Beer (1957).

1960s#

“Tell Tommy I Miss Him” (1960) by Marilyn Michaels is a response to “Tell Laura I Love Her” (1960), recorded separately by both Ray Peterson and Ricky Valance. Versions of this answer song were also released by Skeeter Davis and Laura Lee.
“I’ll Save the Last Dance for You” by Damita Jo (1960) answers The Drifters’ “Save the Last Dance for Me”, sung by Ben E. King (also 1960). Another Damita Jo track, “I’ll Be There” (1961), was in response to King’s solo hit “Stand by Me” (1960).
“He’ll Have to Stay” (1960) was Jeanne Black’s response to Jim Reeves’ “He’ll Have to Go” (1959), and was answered in turn by Johnny Scoggins’ “I’m Gonna Stay” (also 1960).
“(I Can’t Help You) I’m Falling Too” (1960) was Skeeter Davis’ response to Hank Locklin’s “Please Help Me, I’m Falling”, as was Betty Madigan’s “I’m Glad That You’re Falling” (1960).
“There’s Nothing on My Mind” (1960) was The Teen Queens’ response to Bobby Marchan’s “There’s Something on Your Mind” (also 1960).
“Yes, I’m Lonesome Tonight” (1960) was Dodie Stevens’s response to Elvis Presley’s “Are You Lonesome Tonight?” (also 1960).
“I Really Want You to Know” (1961) was Skeeter Davis’ response to Eddy Arnold’s “I Really Don’t Want To Know”.
“Come on Back, Jack” (1961) written by Mort Shuman and Leon Carr and recorded by Nina Simone, and “Well, I Told You” (also 1961), recorded by The Chantels, are both different responses to “Hit the Road, Jack”, written by Percy Mayfield and recorded by Ray Charles.
“Stay-at-Home Sue” by Linda Laurie and “I’m No Run Around” (both 1961) by Ginger Davis and the Snaps were responses to Dion’s “Runaround Sue” (also 1961).
“Hey Memphis” (1961) was LaVern Baker’s response to Elvis Presley’s “Little Sister” (also 1961).
“Don’cha Shop Around” by Laurie Davis and “Don’t Let Him Shop Around” by Debbie Dean (both 1961) were responses to The Miracles’ “Shop Around” (1960). Both songs were written by Berry Gordy and Smokey Robinson.
“My Big John” (1961) was Dottie West’s response to Jimmy Dean’s “Big Bad John” (also 1961).
“My Long Black Veil” (1961) was Marijohn Wilkin’s response to Lefty Frizzell’s “Long Black Veil” (1959).
“Return of the Teenage Queen” (1961) was country singer Tommy Tucker’s response to Johnny Cash’s “Ballad of a Teenage Queen” (1958).
“Don’t Wanna Be Another Good Luck Charm” (1962) was Jo’s (of Judy and Jo) response to Elvis Presley’s “Good Luck Charm” (also 1962).
“(I’m the Girl from) Wolverton Mountain” (1962) was Jo Ann Campbell’s response to Claude King’s “Wolverton Mountain” (also 1962).
The Pearlettes’ “Duchess of Earl” (1962) was a response to Gene Chandler’s “Duke of Earl” (1961).
“Judy’s Turn to Cry” (1963) was Lesley Gore’s response to her own song “It’s My Party” (also 1963). Both of these songs appear in her debut album I’ll Cry If I Want To.
“Blackhead Chinaman” (1963) was Prince Buster’s response to Derrick Morgan’s “Housewives Choice” (1961). Specifically, Buster claimed that Morgan and producer Leslie Kong stole hooks that Buster had created. Morgan responded with “Blazing Fire” and “No Raise, No Praise”. The musical feud reportedly engulfed Jamaican culture to a level where the government ordered the two to appear in public together to calm the frenzied nation.
“It Hurts to Be Sixteen” (1963) was Andrea Carroll’s response to Neil Sedaka’s “Happy Birthday Sweet Sixteen” (1962). Sedaka wrote the melody to both songs (each with a different lyricist; his brother-in-law Ronnie Grossman wrote the lyrics to “It Hurts to Be Sixteen” while Sedaka’s songwriting partner Howard Greenfield wrote “Happy Birthday Sweet Sixteen”).
“Hello Melvin (This Is Mama)” (1963) was Sandra Gould’s answer to “Hello Muddah, Hello Fadduh (A Letter from Camp)” (also 1963), a novelty song by Allan Sherman.
The Beach Boys’ “Don’t Worry Baby” (1964) from Shut Down Volume 2 was said to be an answer to the Ronettes song “Be My Baby” (1963).
The Beach Boys’ “The Girl from New York City” (1965) from Summer Days (And Summer Nights!!) was a response to The Ad Libs’ “The Boy from New York City” (1964).
“Queen of the House” (1965) was Jody Miller’s response to Roger Miller’s “King of the Road” (1964).
“That’s My Life (My Love and My Home)” (1965) by Alfred Lennon, John Lennon’s father, was a response to his son’s song “In My Life” (also 1965), recorded by the Beatles.
“Hurry, Mr. Peters” (1965) by Lorene Mann and Justin Tubb was a response to Roy Drusky and Priscilla Mitchell’s “Yes, Mr. Peters”.
“Slip-In Mules (No High Heel Sneakers) " (1964) was Sugar Pie DeSanto’s answer to “High Heel Sneakers” (also 1964), by Tommy Tucker.
Wendy Hill’s “Gary, Please Don’t Sell My Diamond Ring” (1965) to Gary Lewis & the Playboys’ “This Diamond Ring”. (1965)
“Dawn of Correction” by The Spokesmen is in response to “Eve of Destruction” by Barry McGuire (both 1965).
“I’m The Girl On The Billboard” is Joyce Paul’s response to Del Reeves’ “Girl On The Billboard” (both 1965).
“Morgan the Pirate” (1966) by Richard Fariña was believed by Fariña’s producer Maynard Solomon, journalist Robert Christgau, and others to be a response to Bob Dylan’s scathing “Positively 4th Street” (1965), of which Fariña may have been (or at any rate believed himself to be) the target.
“4th Time Around” (1966) by Bob Dylan is seen as a response to “Norwegian Wood (This Bird Has Flown)” (1965) by the Beatles.
“Evil Off My Mind” (1966) by Burl Ives was a response to Jan Howard’s song “Evil on Your Mind” (1966).
“When a Woman Loves a Man” (1966) by Ketty Lester was a response to “When a Man Loves a Woman” (also 1966) by Percy Sledge.
French Johnny Hallyday’s 1966 Cheveux longs et idées courtes is a riposte to a direct, personal mockery in a verse of Antoine’s Élucubrations of the same year; both were hit songs. (See Antoine’s rivalry with Johnny Hallyday).
“I’m Happy They Took You Away, Ha-Haaa!” (1966) is Josephine XIV’s response in the form of Napoleon’s wife to Napoleon XIV’s “They’re Coming to Take Me Away, Ha-Haaa!” (1966). Another answer song is “They Took You Away, I’m Glad, I’m Glad”, also written by Jerry Samuels.
“Your Good Thing (Is About to End)” (1966), written by Isaac Hayes and David Porter, was originally recorded by Mable John, and served as a response to “You’ll Lose a Good Thing” (1962) by Barbara Lynn.
Jay Lee Webb’s 1967 song, “I Come Home A-Drinkin’ (To a Worn-Out Wife Like You)”, was written as an “answer song” to his older sister Loretta Lynn’s No. 1 1967 country hit “Don’t Come Home A Drinkin (With Lovin’ on Your Mind)”.
“Clothes Line Saga” (1967) by Bob Dylan and the Band is seen as a response to “Ode to Billie Joe” (1967) by Bobbie Gentry.
“Yes, I Am Experienced” (1967) by Eric Burdon and the Animals, was an answer to Jimi Hendrix’s “Are You Experienced?” (1967).
“Back in the U.S.S.R.” (1968) by The Beatles was a response to “Back in the U.S.A.” by Chuck Berry (1959) and “California Girls” by The Beach Boys (1965).
“Billy, I’ve Got to Go to Town” (1969) by Geraldine Stevens was a response to “Ruby, Don’t Take Your Love to Town” by Johnny Darrell (1967).
“More on Ode to Billie Joe” (1969) by Rodd Rogers (aka Rodd Keith), Terri Peters (aka Teri Thornton), and the MSR Singers was a response to 1967’s blockbuster “Ode to Billie Joe” by Bobbie Gentry.
Joni Mitchell’s “The Circle Game” (1970) is an answer to Neil Young’s “Sugar Mountain” (1964).

1970s#

“Hippie From Olema” (1971) was The Youngbloods’ answer to Merle Haggard’s country hit, “Okie from Muskogee” (1969).
Paul McCartney and Wings’s “Some People Never Know” & “Dear Friend” (both 1971), “Let Me Roll It” & “Nineteen Hundred and Eighty-Five” (both 1973), and “Silly Love Songs” (1976) all answered John Lennon’s “How Do You Sleep?” (1971) which was John Lennon’s response to “Too Many People” (1971) by ex-Beatle and Lennon’s former collaborator Paul McCartney.
“The Lawrence Welk-Hee Haw Counter-Revolution Polka” (1972) was Hee Haw host Roy Clark’s answer to Gil Scott-Heron’s “The Revolution Will Not Be Televised”. “The Revolution Will Not Be Televised” was, in turn, a response to The Last Poets’ “When the Revolution Comes.”
“I’m Mr. Big Stuff” was the 1972 response by Jimmy Hicks to “Mr. Big Stuff” by Jean Knight.
“(Should I) Tie a Yellow Ribbon Round the Old Oak Tree?” was the 1973 response by Connie Francis to “Tie a Yellow Ribbon Round the Old Oak Tree” by Tony Orlando & Dawn.
“Basketball Jones featuring Tyrone Shoelaces” (1973) was Cheech and Chong’s parody of the romantic song “Love Jones” (1972) by Brighter Side of Darkness.
“Sweet Home Alabama” (1974) was Lynyrd Skynyrd’s response to Neil Young’s “Southern Man” (1970) and “Alabama” (1972). Warren Zevon then wrote a response to “Sweet Home Alabama”, titled “Play It All Night Long” (1980).
“From His Woman to You” (1975) sung by Barbara Mason was the response to “Woman to Woman” (1974) by Shirley Brown. Mason further followed up her own response song with, “I Am Your Woman, She Is Your Wife”, in 1978
“Rak Off Normie” (1975) by Maureen Elkner was the response to “The Newcastle Song” (1975) by Bob Hudson.
“(I’m A) Stand By My Woman Man” (1976) sung by Ronnie Milsap was the response to Tammy Wynette’s “Stand By Your Man” (1968).
“Two Out of Three Ain’t Bad” (1977) by Meat Loaf was the answer song to “I Want You, I Need You, I Love You” (1956) by Elvis Presley.
Johnny Thunders’ “London Boys” (1978) is a response to the Sex Pistols’ “New York” (1977).

1980s#

“Love Will Tear Us Apart” (1980) by Joy Division was partly a response to “Love Will Keep Us Together” (1973) by Neil Sedaka and Howard Greenfield.
Barbara Mason responded to Richard “Dimples” Fields’ 1980 single “She’s Got Papers on Me”, with “She’s Got the Papers (But I Got the Man)”. She, again, followed up on her own response song with the track, “Another Man” in 1984, her last charting single to date.
“Bad Boy” (1982) by Ray Parker Jr. was a response to his own hit of the same year, “The Other Woman”.
“I Was Country Before Barbara Mandrell” (1982) by Dave Dudley was a response to Mandrell’s “I Was Country When Country Wasn’t Cool” from earlier in the year.
“Candy Girl” (1982) by New Edition was a response to “ABC” (1970) by The Jackson 5.
“Major Tom (Coming Home)” (1983) by Peter Schilling was the response to David Bowie’s 1969 song “Space Oddity”.
“Superstar” (1983) by Lydia Murdock was an answer song to “Billie Jean” (1983) by Michael Jackson.
“Taxi (Take Him Back)” was Anne LeSear’s 1984 response to J. Blackfoot’s 1983 song “Taxi”.
Melba Moore’s “King of My Heart” (1985) was an answer song to Billy Ocean’s “Caribbean Queen” (1984).
Blue Öyster Cult’s “Spy In The House Of The Night” (1985) is about a pyromaniac who gets his kicks from being normal on the outside but a secret arsonist by night. It is also a shout out to The Doors song “The Spy” (1970), about a sexual voyeur.
Reba McEntire’s “Whoever’s in New England” (1986) was a response to Barry Manilow’s hit “Weekend in New England” (1975). “Whoever’s in New England”, in turn, inspired the 2007 answer song “Stay”, written and sung by Jennifer Nettles.
“Thunder & Lightning” (1986) by Miss Thang was a response to Oran “Juice” Jones’s song “The Rain” from the same year. Other responses included “The Drain” by Leot Littlepage, and “After the Storm” by Stephan, also released in 1986.
Actor Danny Aiello appeared in the Madonna video for “Papa Don’t Preach” (1986), as the titular “Papa”, and later that year recorded “Papa Wants the Best for You”, written by Artie Schroeck, as a representation of the father’s point of view.
Similarly, Anya Major, who had appeared as the titular character in the music video of Elton John’s “Nikita” (1985), recorded an answer song one year later entitled “Moscow Nights”.
“Guys Ain’t Nothing but Trouble” by DJ Jazzy Jeff and the Fresh Prince (featuring Ice Cream Tee) was a response to “Girls Ain’t Nothing but Trouble” from their 1987 debut album, “Rock The House” by DJ Jazzy Jeff and the Fresh Prince.
“Grab it!” (1988) by L’Trimm was a cheeky answer record to “Push it” by Salt-N-Pepa (1985)
“I’m Your Wild Thang” (1989) was Mamado and She’s answer to Tone Lōc’s “Wild Thing” (1988).
“(Nothing But) Flowers” by Talking Heads contains lyrics that are an echo to Joni Mitchell’s “Big Yellow Taxi”—“There was a shopping mall, Now it’s all covered with flowers … If this is paradise” in “(Nothing But) Flowers”, whereas Mitchell sang “They paved paradise, And put up a parking lot …”.

1990s#

R.E.M.’s “Me in Honey” (1991) is a response to 10,000 Maniacs’ “Eat for Two” (1989).
Bark Psychosis’ Scum (1992) was an answer to Rozalla’s Everybody’s Free (To Feel Good).
“Erasure-ish” EP (1992) was Björn Again’s answer to Erasure’s previous ABBA tribute, “Abba-esque”. “Erasure-ish” features two Erasure tracks (“A Little Respect” and “Stop!”) performed in the style of ABBA.
“Fuck wit Dre Day (And Everybody’s Celebratin’)” (1993) was Dr. Dre and Snoop Dogg’s answer to Tim Dog’s “Fuck Compton” (1991) (as well as being a diss towards Eazy-E).
Italian pop group 883 topped the charts for months with their hit “Hanno ucciso l’Uomo ragno” (“Someone killed Spider-Man”). Some time later, obscure comedy band Tretriti recorded their answer, “È vivo l’Uomo ragno” (“Spider-Man Lives”).
“The Devil Comes Back to Georgia” by Johnny Cash, Charlie Daniels, Mark O’Connor, and Travis Tritt in 1993 responds to the Charlie Daniels Band’s “The Devil Went Down to Georgia” (1979).
Liz Phair’s Exile in Guyville (1993) album was a song-by-song response to The Rolling Stones Exile on Main St. (1972).
“I Wrote Holden Caulfield” (1994) was Screeching Weasel’s response to “Who Wrote Holden Caulfield?” (1992) by Green Day.
Third Eye Blind’s song “Semi Charmed Life” (1997) was written as a response to Lou Reed’s Walk on the Wild Side (1972), but from a San Francisco perspective.
“The Boy Is Mine” (1998) by Brandy and Monica was a response to “The Girl Is Mine” (1982) by Michael Jackson and Paul McCartney.
The Offspring’s song “The Kids Aren’t Alright” (1998) is named as allusion to The Who’s “The Kids Are Alright” (1965).
After TLC released the song “No Scrubs” in 1999, Sporty Thievz made an answer song called “No Pigeons” that same year.
“A Pretty Girl Is Like…” (1999) from the album 69 Love Songs by The Magnetic Fields was an answer song to Irving Berlin’s “A Pretty Girl Is Like a Melody” according to songwriter Stephin Merritt.
“The Medication Is Wearing Off” (1998) from the album Electro-Shock Blues was the Eels (band) answer song to their own 1996 hit Novocaine for the Soul.
“Heartbreaker (Desert Storm Remix)” by Mariah Carey was a response to “Ain’t No Fun (If the Homies Can’t Have None)” by Snoop Dogg.
Mexican pop singer Alejandra Guzman’s “Hey Güera” (Hey Blondie) is a response to Paulina Rubio’s “Ese hombre es mío” (That man is mine).
“Woman” by Neneh Cherry in 1996 is a response song to 1966’s “It’s a Man’s Man’s Man’s World” by James Brown.
“Old Before I Die” (1997) by Robbie Williams was in response to The Who’s “My Generation” (1965), which contains the lyrics “I hope I die before I get old.”

2000s#

In 2001 Suzanne Vega wrote “(I’ll Never Be) Your Maggie May” as a response to Rod Stewart’s “Maggie May” (1971).
The 2002 song “Aserejé” by Las Ketchup based its chorus on the 1979 song “Rapper’s Delight” by The Sugarhill Gang.
Travis Tritt wrote and released the song “Strong Enough to Be Your Man” in 2002 in response to Sheryl Crow’s “Strong Enough” (1994).
KJ-52 released the song “Dear Slim” (2002) in response to Eminem’s song “Stan” (2000).
“Can’t Hold Us Down” by Christina Aguilera (2003) was a response to Eminem’s song “The Real Slim Shady” (2000).
“F.U.R.B. (Fuck You Right Back)” (2004) was Frankee’s response to Eamon’s “Fuck It (I Don’t Want You Back)”, promoting rumors that the two had been dating. It was the first answer song to reach No. 1 in the United Kingdom. Both songs had topped the charts in that country.
Green Day’s “American Idiot” (2004), from the album of the same name, was written in response to a Lynyrd Skynyrd song called “That’s How I Like It” (2003).
“You Should Really Know” by The Pirates, Shola Ama, Naila Boss and Ishani (2004) was an answer song to “I Don’t Wanna Know” by Mario Winans, Enya and P. Diddy.
The Beatnuts’ song “Confused Rappers” (2004) was a response to Jennifer Lopez, Cory Rooney and The Trackmasters for stealing the sample of “Hi-Jack” by Enoch Light from their 1999 single “Watch Out Now”.
“Good Idea At The Time” (2005) on OK Go’s “Oh No” album, was an answer song to The Rolling Stones’ “Sympathy for the Devil” (1968): in it, the Devil argues that the historical atrocities enumerated in the original were entirely of human doing.
Das Urteil by Kool Savas was a response to Die Abrechnung by Eko Fresh. Eko Fresh’s song claims Kool Savas showcases a bad character during their time on Optik Records, while Kool Savas’ song in return claims it was Eko Fresh who was a false friend during that time.
“Me and Mr. Jones” (2006) on the Back to Black album by Amy Winehouse was an answer song to - at least a riff off the title of - “Me and Mrs. Jones” (1972), made famous by Billy Paul.
Camera Obscura made the song “Lloyd, I’m Ready to Be Heartbroken” (2006) in response to Lloyd Cole and the Commotions 1984 song “Are You Ready to Be Heartbroken?”.
“I Walk Alone”, popularized by Tarja Turunen, is a response to “Bye Bye Beautiful” by Nightwish.
“Menor Que Yo” on Sentimiento (2007) album by Ivy Queen was a response to “Mayor Que Yo”, a collaborative single by Daddy Yankee, Héctor el Father, Wisin & Yandel, Baby Ranks, and Tony Tun Tun.
Worm Quartet expressed exasperation with Marc Gunn for releasing so many songs about cats, in a song called “Goddammit Marc Gunn, Shut Up About Your Cat”. Gunn responded with a song of his own, called “Dear Worm Quartet”.
“Boys, Boys, Boys” (2008) on The Fame album by Lady Gaga was a response to “Girls, Girls, Girls” (1987) by Mötley Crüe.
Mitch Benn’s “Not Everybody Has to Imagine” (2008) is a reply to John Lennon’s “Imagine” (1971).
They Might Be Giants released the answer song “Why Does the Sun Really Shine? (The Sun is a Miasma of Incandescent Plasma)” to their popular 1993 cover of Tom Glazer’s 1965 song “Why Does the Sun Shine?”.
“A Baker’s Tale” by Dean Friedman (2009, released 2010 on the album Submarine Races) was a response to “The Bastard Son of Dean Friedman” by Half Man Half Biscuit (1987, on the album Back Again in the DHSS). In 2010, Friedman performed his song at a Half Man Half Biscuit concert; and accompanied the band during a performance of theirs.
Russian pop band Vintage (Винтаж) composed their song “Eva” (Ева) from their SEX album as an answer to “Run from me” (Беги от меня) by Guests from the Future (Гости из будущего). In the original song, singer Eva Polna warns her significant other to run from her. In “Eva”, singer Anna Pletnyova becomes a fan of Eva Polna writing her a love letter. Eva Polna agreed to re-record part of the original song to be included in Eva.

2010s#

Everybody Was in the French Resistance…Now! released an album titled Fixin’ The Charts, Vol. 1. As its title suggests, the album contains nothing but answer songs to pop hits. “G.I.R.L.F.R.E.N. (You Know I’ve Got A)”, an answer song to Avril Lavigne’s hit “Girlfriend”, is one example.
“California Gurls” (2010) by Katy Perry featuring Snoop Dogg was a response to “Empire State of Mind” (2009) by Jay-Z featuring Alicia Keys. It was the first time both the original song and the answer song reached No. 1 on the Billboard Hot 100.
Taylor Swift’s “Better than Revenge” (2010) is an answer to The Jonas Brothers’ “Much Better” (2009) which may have been an answer to Swift’s “Forever & Always” (2008).
Marina and the Diamonds’ cover of Justin Bieber’s “Boyfriend” (2012) is an answer song to the original tune, the lyrics adapted to give it a female perspective.
Lecrae made the song “No Regrets” (2012) in response to “The Motto” (2011) by Drake. Which itself is a response to “If Today Was Your Last Day” (2008) by Nickelback.
Yasiin Bey (formerly Mos Def) released “Niggas in Poorest”, (2012) in response to “Niggas in Paris” (2011) by Jay-Z and Kanye West, chastising them for parading their wealth while so many are suffering with poverty, violence, crime, and exploitation.
Mary Lambert’s “She Keeps Me Warm” (2013) is an extension of the chorus she sang on Macklemore’s “Same Love” (2012). Where “Same Love” has a message of gay acceptance, “She Keeps Me Warm” is about a woman who falls in love with another woman and grows to accept her own sexuality.
Ewert and the Two Dragons wrote their song “Jolene” on the album Good Man Down in response to Dolly Parton’s 1973 single “Jolene” from the male perspective. Additionally, the 2017 song “Diane” performed by Cam sings from the perspective of Jolene.
“Big Girls Cry” on Sia’s 2014 album 1000 Forms of Fear is an answer song to Fergie’s hit “Big Girls Don’t Cry” (2007).
“Anaconda” by Nicki Minaj (2014) is viewed as an answer to Sir Mix-a-Lot’s “Baby Got Back” (1992), which is heavily sampled in the song. Whereas Sir Mix-a-Lot focuses on a woman’s body and the pleasure it gives him, Minaj raps from the perspective of the unnamed woman, and shows how she uses her callipygian physique to profit and empower herself.
Ellie Goulding’s song “On My Mind” is seen as answer to Ed Sheeran’s “Don’t” by many critics, although Goulding herself has denied it.
Christine and the Queens rewrote Beyoncé’s “Sorry” from a male perspective.
Esmé Patterson recorded Woman to Woman (2014), an album of seven answer songs from the perspective of famous women in pop songs, including “Eleanor Rigby”, “Billie Jean” and The Kinks’ “Lola”.
“The Quantum Enigma (Kingdom of Heaven Part II)” popularized by Epica is a response to “Kingdom of Heaven”
Eels’ 2018 single “Bone Dry” is an answer to their 2010 single “Fresh Blood”. Fresh Blood was itself a sequel to their song “I Want to Protect You”.
“Paper Doll” (2013) by John Mayer is viewed as a response to Taylor Swift’s “Dear John” (2010), and also mentions her song “22”.
In 2013, Kay One released his diss track “Nichts als die Wahrheit” against his former label mates Bushido and Shindy, as a response to Shindy’s song “Alkoholisierte Pädophile”, making fun of Kay One and his stepfather Olliwood.
3Think made “Shizuka (First Love)” (2014) in response to Leo Ku’s “Nobita” (2004).

2020s#

Coheed and Cambria’s 2020 song “Jessie’s Girl 2” is a sequel to Rick Springfield’s 1981 song “Jessie’s Girl”. Featuring Springfield himself on the track, the song imagines what would have happened had Springfield succeeded in winning Jessie’s girl.
Sabrina Carpenter’s 2021 single “Skin” and song “Because I Liked a Boy” from her 2022 album Emails I Can’t Send are speculated to be responses to Olivia Rodrigo’s “Drivers License”, although Carpenter denies this. “Skin” mentions a line used in “Drivers License” about Carpenter’s appearance, while “Because I Liked a Boy” recalls all the threats she received after Rodrigo’s song was released.
Roselia’s 2022 song “Rozen Horizon” is a sequel to their 2019 song “Fire Bird”, according the mini-album’s page.
Country trio Chapel Hart’s 2022 song “You Can Have Him Jolene” answers Dolly Parton’s classic “Jolene” almost 50 years later.
Miley Cyrus’s 2023 song “Flowers” paraphrases “When I Was Your Man” by Bruno Mars, in lyrics as well as in chord progression (Cyrus uses a simplified version of Mars’ verse chords in her chorus) and even in some melodic patterns. While Mars sings about what “he” could have done better in the now broken relationship, Cyrus sings about how “she” is better now that she is alone. Cyrus also takes some melodic figures from “I Will Survive” by Gloria Gaynor.
French singer Louane’s 2025 song Maman references, and is considered a sequel of, her 2015 song of the same name.

Anthem

Mon, 01 Jan 0001 00:00:00 +0000

Etymology#

Anthem is derived from the Greek (antíphōna) via Old English . Both words originally referred to antiphons, a call-and-response style of the singing. The adjectival form is “anthemic”.

History#

Anthems were originally a form of liturgical music. In the Church of England, the rubric appoints them to follow the third collect at morning and evening prayer. Several anthems are included in the British coronation service. The words are selected from Holy Scripture or in some cases from the Liturgy and the music is generally more elaborate and varied than that of psalm or hymn tunes. Being written for a trained choir rather than the congregation, the Anglican anthem is analogous to the motet of the Catholic and Lutheran Churches but represents an essentially English musical form. Anthems may be described as “verse”, “full”, or “full with verse”, depending on whether they are intended for soloists, the full choir, or both. Another way of describing an anthem is that it is a piece of music written specifically to fit a certain accompanying text, and it is often difficult to make any other text fit that same melodic arrangement. It also often changes melody and/or meter, frequently multiple times within a single song, and is sung straight through from start to finish, without repeating the melody for following verses like a normal song (although certain sections may be repeated when marked). An example of an anthem with multiple meter shifts, fuguing, and repeated sections is “Claremont”, or “Vital Spark of Heav’nly Flame”. also known as “The Lord Is Risen Indeed!” after the opening lines. This anthem is still one of the more popular songs in the Sacred Harp tune book. The anthem developed as a replacement for the Catholic “votive antiphon” commonly sung as an appendix to the main office to the Blessed Virgin Mary or other saints.

Anti-folk

Mon, 01 Jan 0001 00:00:00 +0000

In the United States#

Antifolk was introduced by artists who were unable to obtain gigs at established folk venues in Greenwich Village such as Folk City and The Speakeasy. In the mid-1980s, singer-songwriter Lach started The Fort, an after-hours club on NYC’s Rivington Street on the Lower East Side. The Fort’s opening coincided with the New York Folk Festival. Because of this, Lach dubbed his event the New York Antifolk Festival. Other early proponents of the movement included the Washington Squares, Cindy Lee Berryhill, Brenda Kahn, Paleface, Beck, Hamell on Trial, Michelle Shocked, Zane Campbell, John S. Hall, Roger Manning, Kirk Kelly, and Block. The original Fort was shut down in 1985 by the police, and because of this the club moved locations several times, including East Village bars Sophie’s and Chameleon, before settling in the back room of the SideWalk Cafe starting in 1993. Events have also taken place in the band shells in Tompkins Square Park and Central Park.

Antiphon

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

The chant of early Christianity through to the end of the 5th century had its root in the synagogue, whence early Christians borrowed the traditions of the chanting of psalms, singing of hymns and cantillation. There is some evidence from Acts of the Apostles that early Christians stayed close to contemporary Jewish traditions. For example, Acts 2:46–47 states that “with one accord in the Temple, and breaking bread from house to house did eat their meat with gladness and singleness of heart, praising God, and having favour with all the people”. Socrates of Constantinople wrote that antiphony was introduced into Christian worship by Ignatius of Antioch (died 107) after he saw a vision of two choirs of angels. Antiphonal singing was an element of Jewish liturgy believed to have entered the monasteries of Syria and Palestine in the 4th century from the Jewish communities such as the one in Antioch. The practice did not become part of the Latin Church until more than two centuries later. Ambrose and Gregory the Great, who are known for their contributions to the formulation of Gregorian chant, are credited with ‘antiphonaries’, collections of works suitable for antiphon, which are still used in the Catholic Church today.

AN on Music Theory Print

Anarcho-punk

Forerunners#

Anatolian blues

History#

Musicians and musical groups#

See also#

Anatolian rock

Background (1930s-1960s)#

Ancient Celtic music

The Celts and Greco-Roman music#

Ancient music

Egypt#

Ancient Tamil music

Sangam music#

Andalusi classical music

History#

Andalusi nubah

Form, texts, and performance#

Andean music

Instruments#

Anglican chant

Method#

Anglican church music

Forms#

Service settings#

Anime song

1930–1970: Early influences#

Answer song

Pre-1950s#

1950s#

1960s#

1970s#

1980s#

1990s#

2000s#

2010s#

2020s#

See also#

Further reading#

Anthem

Etymology#

History#

Anti-folk

In the United States#

Antiphon

Origins#