This proves the general popularity of the antiphonies
are pictorial transpositions of sound events, and of course their acoustic (musical) character is expressed in the very title.
The call/response litanies of black church preaching, and the DJ/audience antiphonies
of rap sidewalk sampling, are witness to such.
In "The Antiphonies
of Eudora Welty's One Writer's Beginnings and Pictures and Conversations" (in Devlin, 1987), Peggy Whitman Prenshaw explores the autobiographies of Elizabeth Bowen and Eudora Welty for what they reveal about women and autobiographical writing in the twentieth century, arguing that Welty uses her autobiographical writing to negotiate her relationship to family and to the public in ways that ensure both her artistic independence and her continued access to her family and her audience.
Paul in Strasbourg; according to the composer's directions, the performers were placed on four sides of the church interior--the organ at the back, Les Percussions de Strasbourg ensemble in front by the altar, a large and small mixed choir to the left, and a solo soprano to the right (in the pulpit); hence the symphony's name, Antiphonies
(the conductor stood in the middle facing the percussion instruments and the choir).