![]() 5 It is explicitly acknowledged in the book of Chronicles as an essential component of the cult 6 and even explicitly mentioned in the text of some psalms. 4 In Ancient Israel, this choral singing is revealed by the mention of groups of twelve singers affected to the musical service at the Temple (1 Chr 25: 9-31). 3 Also in Ancient Greece it is encountered in performance of dithyrambos and tragedies, and hymns. This type, defined as psalm poetry, is especially encountered in the ANE for performance of hymns and liturgies. 2Īnother type of poetry was specifically designed for choral performance in Antiquity. This is why this musical component is generally ignored by the literary analysis of declamatory poetry, despite that these two dimensions are closely interrelated. However, in no way this musical dimension is expected to modify the content and/or the sequence of the claims. In such a way, the acoustic phenomena promote parallelism, phonic echoes and syllabic repetitions proper to the poetical text. This solemn utterance may be accompanied by musical instruments, and the cantillation of the text may evolve towards a genuine singing. ![]() The first one, declamatory poetry, is a vocalized poetical discourse characterizing blessings, oracles, declarations and inspired speeches. Two main modes of musical poetry may be identified in Antiquity. It is concluded that many psalms were apparently designed for complex antiphony, so that this dimension cannot be ignored by the literary analysis. Their existence is supported by: (i) evidences towards complex antiphony in traditional music, (ii) elements suggesting its occurrence in ane liturgy, (iii) the literary coherency and the emergent meanings of the composite text of biblical psalms set in such a fashion. Three distinct patterns of complex antiphony (steady, cross and canonic responsa) are defined here on the basis of the patterns of global symmetry already identified in the psalms. ![]() This mode is defined as complex antiphony because the bonding, during performance, of small fragments of text from the two scores yields a composite text. The combination of these contrasting anomalies finds an explanation when assuming that the text of these psalms is written in musical fashion, as two distinct scores designed to be sung by dialoging voices. On the other, the many recurrences attested to in the text generate patterns of symmetry on the entire level. ![]() On the one hand they are considerably less fluent than expected, even for poetical compositions. Many of the biblical psalms are characterized by a double anomaly. The musical mode of writing of the psalms and its significance 1 ![]()
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