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[Middle English anteme, from Old English antefn, from Late Latin antiphōna, from Late Greek, from neuter pl. of antiphōnos, sounding in answer : anti-, in return; see anti– + phōnē, voice.]
A choral setting of a religious or moral text in English, usually for liturgical performance. The term is derived from Antiphon. In the 1662 Book of Common Prayer the anthem was formally acknowledged as an extra at the end of Matins and Evensong in the Church of England. Early anthems, from c1550 (by Tye, Tallis and others), are in four parts, predominantly imitative in note-against-note counterpoint. A significant development c1600 was the ‘verse’ style, in which verses for solo voices with instrumental accompaniment (normally organ) alternated with choral passages. This paralleled the Concertato development abroad. Byrd's Easter anthem, Christ rising again, illustrates it at its best. Distinguished among his younger contemporaries were Morley (who considered it his task ‘to draw the hearers... to the consideration of holy things’) and later Tomkins, Weelkes and Gibbons, who gave the anthem even greater dramatic impact.
After the Restoration (1661) a new style developed, with Cooke and Locke, in anthems for the Chapel Royal, showing homophonic textures and a succession of contrasting verses with occasional, often perfunctory choruses; French and Italian influence is evident. Strings were sometimes added for ritornellos. Locke, Humfrey and Blow used this new style; Purcell synthesized and developed these features, contributing to the verse anthem, the full anthem, and the newer orchestral type.
In the 18th century, anthems were written by Handel (including 11 for the Duke of Chandos, 1716-18, and some ten others), Greene, Boyce and others. In the period 1770-1817 adaptations and arrangements were used although Battishill and Samuel Wesley wrote effective anthems. The foundations of the Victorian revival were laid mainly by S.S. Wesley, many of whose best anthems were published in 1853. In the late 19th century, Stanford was particularly influential in church music: his anthems, reflecting an interest in new music abroad, are unmistakably English in style and structure. Vaughan Williams, Bax, Walton and Britten wrote isolated anthem-like compositions but few are practicable for daily cathedral use.
The American anthem of the late 18th century was modelled on English anthems from such collections as Tans′ur's Royal Melody Complete (1735) and Williams's Universal Psalmodist (1763). The centre of anthem composition during the 18th century was New England, where works by native composers, including the pioneer Billings, quickly outnumbered the available English models. Outside the mainstream were the Germanic immigrants, notably the Moravians who settled in Pennsylvania and North Carolina. Dudley Buck in the late 19th century and William Sowerby in the 20th have been among the most influential American anthem composers.
anthem, originally an antiphon; Wilfred Owen's ‘Anthem for Doomed Youth’ and W. H. Auden's ‘Anthem for St Cecilia's Day’ both preserve something of this antiphonal sense. The term is now used more often to denote a song in which the words affirm a collective identity, usually expressing attachment to some nation, institution, or cause. Anthems have been adopted, formally or informally, by states, schools, sports clubs, and social movements of all kinds. A significant modern example is Tom Robinson's ‘Glad to be Gay’ (1977).
For more information on anthem, visit Britannica.com.
Bibliography
See M. B. Foster, Anthems and Anthem Composers (1901, repr. 1970); W. L. Reed and M. J. Bristow, ed., National Anthems of the World (1988).
A choral or vocal composition, often with a religious or political lyric, with or without accompaniment, written either for performance in a church, or another place with significance to the song itself.
An anthem is a composition to an English religious text sung in the context of an Anglican service. The term has evolved to mean a song of celebration, usually acting as a symbol for a certain group of people, as in the term "national anthem". See below for other uses.
"anthem" is derived from the Greek αντιφωνα through the Saxon antefn, a word which originally had the same meaning as antiphony.
It is now, however, generally restricted to a form of church music, particularly in the service of the Church of England, in which it is appointed by the rubrics to follow the third collect at both morning and evening prayer. It is just as usuan ordinary hymn as an anthem, which may be a more elaborate composition than the congregational hymns. Several anthems are included in the English 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. Though the anthem of the Church of England is analogous to the motet of the Roman Catholic and Lutheran Churches, both being written for a trained choir and not for the congregation, it is as a musical form essentially English in its origin and development.
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. Though anthems were written in the Elizabethan period by Byrd,
Early anthems tended to be simple and homophonic in texture, in order that the words could be clearly heard. Late in the sixteenth century the "verse anthem", in which passages for solo voices alternated with passages for full choir, began to evolve. This became the dominant form in the Restoration period, when composers such as Henry Purcell and John Blow wrote elaborate examples for the Chapel Royal with orchestral accompaniment. In the nineteenth century Samuel Sebastian Wesley wrote anthems influenced by contemporary oratorio which could stretch to several movements and last twenty minutes or longer. Later in the same century Charles Villiers Stanford composed examples which used symphonic techniques to produce a more concise and unified structure. Many anthems have been produced on this model since his time, generally by organists rather than professional composers and often in a conservative style. Major composers have tended to compose anthems only in response to commissions and for special occasions; examples include Edward Elgar's Great is the Lord and Give unto the Lord (both with orchestral accompaniment), Benjamin Britten's Rejoice in the Lamb (a modern example of a multi-movement anthem and today heard mainly as a concert piece), and (on a much smaller scale) Ralph Vaughan Williams' O taste and see, written for the coronation of Queen Elizabeth II. With the relaxation of the rule, in England at least, that anthems should be only in English, the repertoire has been greatly enhanced by the addition of many works from the Latin repertory.
In common usage among Protestant churches in the U.S.A. the term "anthem" often refers to any short sacred choral work presented during the course of a worship service.
Sometimes the word is used to describe legendary songs in different musical genres. For instance, the song Free Bird by Lynyrd Skynyrd is considered the quintesential rock and roll anthem.
The following is a list of articles on other anthems:
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)
Dansk (Danish)
n. - hymne, nationalsang
Nederlands (Dutch)
lofzang, beurtzang, uitgebreid koorlied,
Français (French)
n. - hymne, motet
v. tr. - chanter un hymne
Deutsch (German)
n. - Hymne
v. - in einer Hymne besingen, Hymnen singen
Ελληνική (Greek)
n. - ύμνος, (θρησκ.) αντίφωνο, τροπάριο
v. - υμνώ
Português (Portuguese)
n. - canção (f) religiosa ou patriótica, antífona (Mús.)
idioms:
idioms:
Español (Spanish)
n. - himno, antífona
v. tr. - celebrar con un himno
Svenska (Swedish)
n. - hymn
v. - sjunga hymn eller nationalsång
中文（简体） (Chinese (Simplified))
圣歌, 赞美诗
中文（繁體） (Chinese (Traditional))
n. - 聖歌, 讚美詩
العربيه (Arabic)
(الاسم) نشيد, ترنيمه (فعل) ينشد, يرنم
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 | Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved. Read more |
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| Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved. Read more |
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| Literary Dictionary. The Concise Oxford Dictionary of Literary Terms. Copyright © Chris Baldick 2001, 2004. All rights reserved. Read more |
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| Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved. Read more |
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| Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/ Read more |
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| Music. © 2003 The Austin Symphony. All Rights Reserved. Read more |
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