The Mass, a form of sacred musical composition, is a choral composition that sets the fixed portions of the Eucharistic liturgy (principally that of the Roman Catholic Church, the Churches of the Anglican Communion, and also the Lutheran Church) to music. The term musical form refers to two related concepts the type of composition (for example a musical work can have the form of a Symphony, a Religious music (also sacred music) is Music performed or composed for religious use or through religious influence For the musical composition see Chorale. A choir, chorale, or chorus is a Musical ensemble of Singers The Eucharist, also called Holy Communion or Lord's Supper and other names is a Christian Sacrament by which in a common interpretation those A liturgy is the customary public worship done by a specific religious group according to their particular traditions See also Anglicanism The Anglican Communion is an international association of national Anglican churches Most Masses are settings of the liturgy in Latin, the traditional language of the Roman Catholic Church, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. Latin ( lingua Latīna, laˈtiːna is an Italic language, historically spoken in Latium and Ancient Rome. For example, there are many Masses (often called "Communion Services") written in English for the Church of England. English is a West Germanic language originating in England and is the First language for most people in the United Kingdom, the United States The Church of England is the officially established Christian church in England, the Mother Church of the worldwide Anglican

Masses can be a cappella, for the human voice alone, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. A cappella (Italian or Latin "From the chapel/choir" Music is Vocal music or Singing without instrumental Accompaniment In classical music obbligato usually describes a musical line that is in some way indispensable in performance Many Masses, especially later ones, were never intended to be performed during the celebration of an actual mass.

Form of the Mass

Generally, for a composition to be a full Mass, it must contain the following six sections, which together constitute the Ordinary of the Mass:

I. The Ordinary of the Mass ( Latin: Ordo Missae) is the set of texts of the Roman Catholic Church Latin Rite Mass that are generally Kyrie

The Kyrie is the first movement of a setting of the Ordinary of the Mass:

Kyrie eleison; Christe eleison; Kyrie eleison (Κυριε ελεησον; Χριστε ελεησον; Κυριε ελεησον)

Lord have mercy; Christ, have mercy; Lord, have mercy. Kýrie is from the Greek word κύριε (kyrie the Vocative case of κύριος (kyrios meaning O Lord.

This is from the ancient (Biblical New Testament) Greek language, unlike the rest of the mass which is Latin.

Kyrie movements often have a structure that reflects the concision and symmetry of the text. Many have a ternary (ABA) form, where the two appearances of the phrase "Kyrie eleison" are comprised of identical or closely related material and frame a contrasting "Christe eleison" section. Ternary form is a structuring mechanism of a piece of music Along with several other Musical forms ternary form can also be applied to dance choreography Or AAABBBCCC' form is also found later on. Famously, Mozart sets the "Kyrie" and "Christe" texts in his Requiem Mass as the two subjects of a double fugue. The Requiem Mass in D minor ( K 626 by Wolfgang Amadeus Mozart was composed in 1791 In Music, a fugue (ˈfjuːg is a type of contrapuntal composition or technique of composition for a fixed number of parts, normally referred

II. Gloria

The Gloria is a celebratory passage praising God and Christ:

Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. " Gloria in excelsis Deo " ( Latin for "Glory to God in the highest" is the title and beginning of a hymn known also as the Greater Doxology Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi

Glory to God in the highest, and on earth peace to men of good will. We praise You, we bless You, we adore You, we glorify You, we give thanks

propter magnam gloriam tuam, Domine Deus, Rex caelestis [coelestis], Deus Pater omnipotens.

to You for Your great glory, Lord God, heavenly King, almighty God the Father.

Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi,

Lord Jesus Christ, only begotten Son, Lord God, Lamb of God, Son of the Father, who taketh away the sins of the world,

miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

Have mercy on us; You who take away the sins of the world, hear our prayers. Who sits at the right hand of the Father, have mercy upon us.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Iesu Christe, cum Sancto Spiritu in gloria Dei Patris. Amen.

For You are the only Holy One, the only Lord, the only Most High, Jesus Christ, with the Holy Spirit in the glory of God the Father, Amen.

In Mass settings (normally in English) composed for the Church of England's Book of Common Prayer liturgy, the Gloria is commonly the last movement, because it occurs in this position in the text of the service. The Book of Common Prayer is the common title of a number of prayer books of the Church of England and used throughout the Anglican Communion. In Order One of the newer Common Worship liturgy, however, it is restored to its earlier place. Common Worship is the name given to the series of services authorised by the General Synod of the Church of England and launched on the first Sunday of Advent

III. Credo

The longest text of the Mass, this is a setting of the Nicene Creed:

Credo in unum Deum, Patrem omnipotentem,

I believe in one God, the Father Almighty

factorem caeli et terrae, visibilium omnium et invisibilium. The Nicene Creed (ˈnaɪsiːn is an ecumenical Christian statement of faith accepted in the Eastern Orthodox Church, Assyrian Church of

Maker of heaven and earth, and of all things visible and invisible:

Et in unum Dominum Jesum Christum,

And in one Lord Jesus Christ,

Filium Dei unigenitum, et ex Patre natum ante omnia saecula.

the only-begotten Son of God, begotten of the Father before all worlds;

Deum de Deo, Lumen de Lumine, Deum verum de Deo vero,

God of God, Light of Light, very [true] God of very [true] God;

genitum non factum, consubstantialem Patri;

begotten, not made, being of one substance with the Father,

per quem omnia facta sunt.

by Whom all things were made;

Qui propter nos homines et propter nostram salutem descendit de caelis.

Who for us men and for our salvation came down from Heaven, and became man.

Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

and was incarnate by the Holy Ghost of the Virgin Mary, and was made man:

Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est,

And was crucified also for us under Pontius Pilate; he suffered and was buried:

et resurrexit tertia die, secundum Scripturas,

And the third day he rose again according to the Scriptures:

et ascendit in caelum, sedet ad dexteram Patris.

And ascended into Heaven, and sitteth on the right hand of the Father:

Et iterum venturus est cum gloria, iudicare vivos et mortuos,

And he shall come again, with glory, to judge both the living and the dead:

cuius regni non erit finis;

Whose Kingdom will have no end;

Et in Spiritum Sanctum, Dominum et vivificantem,

And I believe in the Holy Ghost the Lord, and Giver of Life,

qui ex Patre Filioque procedit.

Who proceedeth from the Father and the Son

Qui cum Patre et Filio simul adoratur et conglorificatur:

Who with the Father and the Son together is worshipped and glorified,

qui locutus est per prophetas.

Who has spoken through the Prophets.

Et unam, sanctam, catholicam et apostolicam Ecclesiam.

And I believe in One Holy, Catholic, and Apostolic Church,

Confiteor unum baptisma in remissionem peccatorum.

I acknowledge one Baptism for the forgiveness of sins.

Et expecto resurrectionem mortuorum,

And I look for the Resurrection of the Dead:

et vitam venturi saeculi. Amen.

And the Life of the world to come. Amen.

In a service the Creed is often either said by the congregation or sung to one of the many chant settings due to its length. Chant (from Old French chanter) is the Rhythmic speaking or Singing of Words or Sounds often primarily on one or two

IV. Sanctus

The Sanctus is a doxology praising the Trinity:

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt coeli et terra gloria tua

Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of Your glory. Sanctus is the Latin word for holy or saint and is the name of an important Hymn of Christian Liturgy. A doxology (from the Greek doxa, glory + Logos, word or speaking is a short Hymn of praise to God in various Christian SSC RF "Troitsk Institute of Innovative and Termonuclear Research" or TRINITY for shprt Троицкий Институт инновационных и термоядерных

Hosanna in excelsis

Hosanna in the highest.

V. Benedictus

The Benedictus is a continuation of the Sanctus:

Benedictus qui venit in nomine Domini.

Blessed is he who comes in the name of the Lord

Hosanna in excelsis is repeated after the Benedictus section, often with musical material identical to that used after the Sanctus, or very closely related.

In Gregorian chant the Sanctus (with Benedictus) was sung whole at its place in the mass. However, as composers produced more embellished settings of the Sanctus text, the music often would go on so long that it would run into the consecration of the bread and wine. Consecration is the solemn dedication to a special purpose or service usually religious This was considered the most important part of the Mass, so composers began to stop the Sanctus halfway through to allow this to happen, and then continue it after the consecration is finished. This practice was forbidden for a period in the twentieth century.

VI. Agnus Dei

The Agnus Dei is a setting of the "Lamb of God" litany:

Agnus Dei, qui tollis peccata mundi,

Lamb of God, who take away the sins of the world,

miserere nobis

have mercy upon us. Agnus Dei is a Latin term meaning Lamb of God, and was originally used to refer to Jesus Christ in his role of the perfect sacrificial

Agnus Dei, qui tollis peccata mundi,

Lamb of God, who take away the sins of the world,

dona nobis pacem.

grant us peace.

In a Requiem Mass, the words "miserere nobis" are replaced by "dona eis requiem" (grant them rest), while "dona nobis pacem" is replaced by "dona eis requiem sempiternam" (grant them eternal rest).

Other Sections

In a liturgical Mass, there are other sections that may be sung, often in Gregorian chant. History Gregorian chant was organized codified and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries with later additions These sections, the "Proper" of the Mass, change with the day and season according to the Church calendar, or according to the special circumstances of the mass. The Proper of the Mass is usually not set to music in a Mass itself, except in the case of a Requiem Mass, but may be the subject of motets or other musical compositions. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the In Western music, motet is a word that is applied to a number of highly varied choral musical compositions The sections of the Proper of the Mass include the Introit, Gradual, Alleluia or Tract (depending on the time of year), Offertory and Communion.

Musical settings

Middle Ages

The earliest musical settings of the Mass are Gregorian chant. The different portions of the Ordinary came into the liturgy at different times, with the Kyrie probably being first (perhaps as early as the 7th century) and the Credo being last (it did not become part of the Roman mass until 1014)^[1].

In the early 14th century, composers began writing polyphonic versions of the sections of the Ordinary. The reason for this surge in interest is not known, but it has been suggested that there was a shortage of new music since composers were increasingly attracted to secular music, and overall interest in writing sacred music had entered a period of decline. ^[2] The non-changing part of the mass, the Ordinary, then would have music which was available for performance all the time.

Two manuscripts of the 14th century, the Ivrea Codex and the Apt Codex, are the primary sources for polyphonic settings of the Ordinary. The Ivrea Codex ( Ivrea Biblioteca Capitolare 115) is a Parchment Manuscript containing a significant body of 14th century French Stylistically these settings are similar to both motets and secular music of the time, with a three-voice texture dominated by the highest part. In Western music, motet is a word that is applied to a number of highly varied choral musical compositions Most of this music was written or assembled at the papal court at Avignon. Avignon (/aviɲɔ̃/ in French) ( Provençal: Avinhon in classical norm or Avignoun in Mistralian norm is a commune

Several anonymous complete masses from the 14th century survive, including the Tournai Mass; however, discrepancies in style indicate that the movements of these masses were written by several composers and later compiled by scribes into a single set. The Tournai Mass is a polyphonic setting of the mass from 14th-century France. The first complete Mass we know of whose composer can be identified was the Messe de Nostre Dame (Mass of Our Lady) by Guillaume de Machaut in the 14th century. Messe de Nostre Dame (Mass of Our Lady is a polyphonic mass composed before 1365 by the French Poet, Composer and Guillaume de Machaut, sometimes spelled Machault (c 1300 – April 1377 was an important Medieval French Poet and Composer.

Renaissance

Main articles: Cyclic mass, Cantus firmus mass, Paraphrase mass, Parody mass

The musical setting of the Ordinary of the Mass was the principal large-scale form of the Renaissance. In Renaissance music, the cyclic mass was a setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie Gloria In Renaissance music, the cyclic mass was a setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie Gloria A paraphrase mass is a musical setting of the Ordinary of the mass, using as its basis an elaborated version of a Cantus firmus, typically chosen from A parody mass is a musical setting of the mass, typically from the 16th century that uses multiple voices of another pre-existing piece of music such as a fragment of a The earliest complete settings date from the 14th century, with the most famous example being the Messe de Nostre Dame of Guillaume de Machaut. Messe de Nostre Dame (Mass of Our Lady is a polyphonic mass composed before 1365 by the French Poet, Composer and Guillaume de Machaut, sometimes spelled Machault (c 1300 – April 1377 was an important Medieval French Poet and Composer. Individual mass movements, and especially pairs of movements (such as Gloria-Credo pairs, or Sanctus-Agnus pairs), were commonly composed during the 14th and early 15th centuries. Complete masses by a single composer were the norm by the middle of the 15th century, and the form of the mass, with the possibilities for large-scale structure inherent in its multiple movement format, was the main focus of composers within the area of sacred music; it was not to be eclipsed until the motet and related forms became more popular in the first decades of the 16th century.

Most 15th century masses were based on a cantus firmus, usually from a Gregorian chant, and most commonly put in the tenor voice. In Music, a cantus firmus ("fixed song" is a pre-existing Melody forming the basis of a polyphonic composition. The cantus firmus sometimes appeared simultaneously in other voices, using a variety of contrapuntal techniques. In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony Later in the century, composers such as Guillaume Dufay, Johannes Ockeghem, and Jacob Obrecht, used secular tunes for cantus firmi. Guillaume Dufay ( Du Fay, Du Fayt) ( August 5, 1397 ? &ndash November 27, 1474) was a Franco-Flemish composer Johannes Ockeghem (also Jean de; surname Okeghem, Ogkegum, Okchem, Hocquegam, Ockegham; other variant spellings are also Jacob Obrecht (1457/1458 &ndash late July 1505 was a Dutch composer of the Renaissance. This practice was accepted with little controversy until prohibited by the Council of Trent in 1562. In particular, the song L'homme armé has a long history with composers; more than 40 separate mass settings exist. L'homme armé was a French secular song from the time of the Renaissance.

Other techniques for organizing the cyclic mass evolved by the beginning of the 16th century, including the paraphrase technique, in which the cantus firmus was elaborated and ornamented, and the parody technique, in which several voices of a polyphonic source, not just one, were incorporated into the texture of the mass. In Renaissance music, the cyclic mass was a setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie Gloria A paraphrase mass is a musical setting of the Ordinary of the mass, using as its basis an elaborated version of a Cantus firmus, typically chosen from A parody mass is a musical setting of the mass, typically from the 16th century that uses multiple voices of another pre-existing piece of music such as a fragment of a Paraphrase and parody supplanted cantus-firmus as the techniques of choice in the 16th century: Palestrina alone wrote 51 parody masses.

Yet another technique used to organize the multiple movements of a mass was canon. In Music, a canon is a contrapuntal composition that employs a Melody with one or more imitations of the melody played after a given duration (e The earliest masses based entirely on canon are Johannes Ockeghem's Missa prolationum, in which each movement is a prolation canon on a freely-composed tune, and the Missa L'homme armé of Guillaume Faugues, which is also entirely canonic but also uses the famous tune L'homme armé throughout. The Missa prolationum is a musical setting of the Ordinary of the Mass, by Johannes Ockeghem, dating from the second half of the 15th century In Music, a prolation canon or mensuration canon is a type of canon, a musical composition which employs a Melody with one or more imitations Guillaume Faugues ( fl c 1460–1475 was a French composer Very little is known of his life however a significant representation of his work survives in the form of five L'homme armé was a French secular song from the time of the Renaissance. Pierre de La Rue wrote four separate canonic masses based on plainchant, and one of Josquin des Prez's mature masses, the Missa Ad fugam, is entirely canonic and free of borrowed material. Pierre de La Rue (c 1452 &ndash November 20, 1518) called Piersson, was a Franco-Flemish composer and singer of the Renaissance Josquin des Prez (c 1450 to 1455 &ndash August 27 1521 often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. ^[3]

The Missa Sine nomine, literally "mass without a name", refers to a mass written on freely composed material. A Missa Sine nomine, literally a "Mass without a name" is a musical setting of the Ordinary of the Mass, usually from the Renaissance, which Sometimes these masses were named for other things, such as Palestrina's famous Missa Papae Marcelli, and many times they were canonic masses, as in Josquin's Missa Sine nomine. Missa Papae Marcelli, or Pope Marcellus Mass, is a mass by Giovanni Pierluigi da Palestrina. The Missa Sine nomine is a setting of the Ordinary of the Mass by Renaissance composer Josquin des Prez.

Many famous and influential masses were composed by Josquin des Prez, the single most influential composer of the middle Renaissance. Josquin des Prez (c 1450 to 1455 &ndash August 27 1521 often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. At the end of the 16th century, prominent representatives of a cappella choral counterpoint included the Englishman William Byrd, the Castilian Tomás Luis de Victoria and the Roman Giovanni Pierluigi da Palestrina, whose Mass for Pope Marcellus is sometimes credited with saving polyphony from the censure of the Council of Trent. In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony William Byrd (c 1540 &ndash 4 July 1623 was an English Composer of the Renaissance. Tomás Luis de Victoria (sometimes spelled 'da Vittoria' (1548 &ndash August 20, 1611) was a Spanish composer of the late Renaissance. Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 - 2 February 1594 was an Italian Composer of the Renaissance. In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony The Council of Trent was the 19th Ecumenical Council of the Roman Catholic Church. By the time of Palestrina, however, most composers outside of Rome were using other forms for their primary creative outlet for expression in the realm of sacred music, principally the motet and the madrigale spirituale; composers such as the members of the Venetian School preferred the possibilities inherent in the new forms. In Western music, motet is a word that is applied to a number of highly varied choral musical compositions A madrigale spirituale (Italian pl madrigali spirituali) is a madrigal, or madrigal-like piece of music with a sacred rather than a secular text In music history the Venetian School is a term used to describe the Composers working in Venice from about 1550 to around 1610; it also describes Other composers, such as Orlande de Lassus, working in Munich and comfortably distant from the conservative influence of the Council of Trent, continued to write parody masses on secular songs. Orlande de Lassus (also Orlandus Lassus, Orlando di Lasso, Roland de Lassus, or Roland Delattre) (1532 (possibly 1530 &ndash June A parody mass is a musical setting of the mass, typically from the 16th century that uses multiple voices of another pre-existing piece of music such as a fragment of a

Major Works in Baroque through Romantic

After the Renaissance, the mass tended not to be the central genre for any one composer, yet some of the most famous of all musical works of the Baroque, Classical, and Romantic periods are masses. Many of the most famous of the great masses of the Romantic era were Requiem masses. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the

Among the Masses written for the Ordinary of the Mass are:

• The Messa Concertata by Cavalli (1656)
• The Missa Scala Aretina by Francesc Valls (Barcelona, 1702)
• The Mass in B Minor and 4 others by Bach
• 21 masses by Czech Baroque composer Jan Dismas Zelenka
• The Mass in C minor and 18 others by Mozart (1782)
• The Requiem Mass in D Minor by Mozart and Franz Xaver Süssmayr. The Ordinary of the Mass ( Latin: Ordo Missae) is the set of texts of the Roman Catholic Church Latin Rite Mass that are generally Francesco Cavalli ( February 14 1602 &ndash January 14 1676) was an Italian composer of the early Baroque Francisco Valls (1672-1747 the Missa Scala Aretina and the Mapa Armónico Práctico Background of Francisco Valls In 1696 Francisco Valls was The Mass in B minor ( BWV 232 is a musical setting (or more formally a Missa tota) of the Latin Mass by Johann Sebastian Bach, also WikipediaWikiProject Composers#Lead section.2 This article is written in British English including maximised use of "-ise" Jan Dismas Zelenka, also known as Johann Dismas Zelenka (October 16 1679 &ndash December 23 1745 was a Czech Baroque Composer. The Große Messe ( German, lit Great Mass) No 17 in C minor K The Requiem Mass in D minor ( K 626 by Wolfgang Amadeus Mozart was composed in 1791
• The 12 masses of Joseph Haydn, including Nelson Mass and Mass in Time of War
• The Mass in C major and Missa Solemnis in D Major by Beethoven
• Missa Choralis and Hungarian Coronation Mass by Liszt
• Mass in G Major and 5 others by Schubert
• Mass in F Minor and 2 others by Bruckner
• Messe Solennelle, Caecilienmesse, and 13 others by Gounod
• Messa by Puccini
• Petite Messe Solennelle (1863) by Gioacchino Rossini
• The Requiem Mass by Gabriel Fauré

Major Works in the 20th and 21st century

In the 20th century, composers continued to write masses, in an even wider diversity of style, form and function than before. Masses composed by Joseph Haydn are listed below Masses are sorted using chronological indices given by New Grove. The Missa in Angustiis ("Mass for troubled times" or "Nelson Mass" ( Hob Missa in Tempore Belli ( English: Mass in Time of War) is Joseph Haydn ’s tenth and one of the most popular of his fourteen Ludwig van Beethoven wrote his Mass in C major, Op 86 to a commission from Prince Nikolaus Esterházy II in 1807. The Missa solemnis in D Major Op 123 was composed by Ludwig van Beethoven from 1819-1823 Ludwig van Beethoven ( English ˈlʊdvɪg væn ˈbeɪtoʊvən, 16 December 1770 &ndash 26 March 1827 was a German Composer and Pianist. Mass No 2 in G major by Franz Schubert, D 167 was composed in 1815. Anton Bruckner (4 September 1824 &ndash 11 October 1896 was an Austrian composer known primarily for his symphonies, masses, and Motets Biography Gounod was born in Paris, the son of a pianist mother and a draftsman father Giacomo Puccini 's Messa or Messa a quattro voci (currently more widely known under the apocryphal name of Messa di Gloria WikipediaWikiProject Composers#Lead section --> Giacomo Antonio Domenico Michele Secondo Maria Puccini ( December 22, 1858 Gioachino Rossini 's Petite Messe Solennelle was written in 1863 "the last" the composer called it "of my pêchés de vieillesse " Gabriel Fauré composed his Requiem in D minor, Op 48 between 1887 and 1890

The 20th century

• The Requiem Mass by Herbert Howells
• The Requiem Mass by Maurice Durufle
• Missa Brevis by Francis Poulenc
• Messe Solennelle by Jean Langlais
• Mass of Life by Frederick Delius
• Mass in G Minor by Ralph Vaughan Williams
• Mass by Igor Stravinsky
• Mass by Leonard Bernstein
• War Requiem by Benjamin Britten
• Mass by David Maslanka
• Mass by Frank Martin
• Missa Laudate Pueri by Bertold Hummel [1]
• Mass of the Children by John Rutter
• Jazz Mass by Steve Dobrogosz
• Mass To Hope by Dave Brubeck

The 21st century

• Missa pro Pace (Mass for Peace) by Kentaro Sato

Masses written for the Anglican liturgy

These are more often known as 'Communion Services', and differ not only in that they are settings of English words, but also, as mentioned above, in that the Gloria usually forms the last movement. Herbert Norman Howells CH (17 October 1892 &ndash 23 February 1983 was an English Composer, organist, and teacher Maurice Duruflé (January 11 1902 &ndash June 16 1986 was a French Composer, Organist, and Pedagogue. See also, Rhône-Poulenc Francis Jean Marcel Poulenc (fʀɑ̃sis ʒɑ̃ maʀsɛl pulɛ̃k January 7, 1899 – January 30, Jean Langlais (15 February 1907 &ndash 8 May 1991 was a French Composer of Modern classical music, Organist, and Improviser. Frederick Albert Theodore Delius CH (29 January 1862 &ndash 10 June 1934 was an English Composer born in Bradford in the West Riding of Yorkshire The Mass in G Minor is a choral work by Ralph Vaughan Williams, written in 1921 Ralph (reɪf Vaughan Williams OM (12 October 1872 &ndash 26 August 1958 was an English Composer of symphonies, Chamber music Igor Stravinsky composed his Mass between 1944 and 1948 This 19-minute setting of the Roman Catholic Mass exhibits the austere Neoclassic, Igor Fyodorovich Stravinsky (Игорь Фёдорович Стравинский) ( &ndash 6 April 1971 was a Russian born Composer, considered by many to MASS (formally " MASS A Theatre Piece for Singers Players and Dancers " is a musical piece composed by Leonard Bernstein. WikipediaWikiProject Composers#Lead section --> WikipediaWikiProject Classical music#Biographical_infoboxes The War Requiem, Op 66 is a large-scale non- liturgical setting of the Requiem Mass composed by Benjamin Britten in 1962 Edward Benjamin Britten Baron Britten, OM CH (22 November 1913 – 4 December 1976 was an English Composer, conductor, David Maslanka (born August 30, 1943 in New Bedford Massachusetts) is a U Frank Martin ( September 15, 1890 &ndash November 21, 1974) was a Swiss Composer, who lived Bertold Hummel ( November 27, 1925 in Hüfingen – August 9, 2002 in Würzburg) was a German composer of modern classical music Mass of the Children is a major work of English composer John Rutter. John Milford Rutter CBE (born) is an English Composer, choral conductor, editor, Arranger and Record producer Steve Dobrogosz is an American Pianist and Composer. Dobrogosz was born in 1956 and grew up in Raleigh North Carolina. David Warren Brubeck (born December 6, 1920 in Concord California) better known as Dave Brubeck, is an American jazz pianist Sometimes the Kyrie movement takes the form of sung responses to the Ten Commandments, 1 to 9 being followed by the words 'Lord have mercy upon us and incline our heartd to keep this law', and the tenth by 'Lord have mercy upon us and write all these thy laws in our hearts, we beseech thee'. Since the texts of the 'Benedictus qui venit' and the 'Agnus Dei' do not actually feature in the liturgy of the 1662 Book of Common Prayer, these movements are often missing from some of the earlier Anglican settings. The Book of Common Prayer is the common title of a number of prayer books of the Church of England and used throughout the Anglican Communion. Charles Villiers Stanford composed a Benedictus and Agnus in the key of F major which was published separately to complete his service in C. Sir Charles Villiers Stanford (30 September 1852 &ndash 29 March 1924 was an Irish composer resident in England for much of his life

With reforms in the Anglican liturgy, the movements are now usually sung in the same order that they are in the Roman Catholic rite, leading, according to some, to the musical integrity of the settings being somewhat compromised. Choral settings of the Creed, the most substantial movement are rarely performed in Anglican cathedrals now.

Well known Anglican settings of the Mass, which may be found in the repertoire of many English cathedrals are:

• Darke in F
• Darke in E
• Ireland in C
• Stanford in C & F
• Stanford in B flat
• Sumsion in F
• Oldroyd, Mass of the Quiet Hour
• Jackson in G
• Howells, Collegium Regale
• Leighton in D
• Noble in B minor
• Harwood in A flat
• Wood in the Phrygian Mode

Musical reforms of Pius X

Pope St. Harold Edwin Darke ( October 29 1888 &ndash November 28 1976) was an English Composer and organist. Harold Edwin Darke ( October 29 1888 &ndash November 28 1976) was an English Composer and organist. John Nicholson Ireland ( 13 August 1879 &ndash 12 June 1962) was an English composer Sir Charles Villiers Stanford (30 September 1852 &ndash 29 March 1924 was an Irish composer resident in England for much of his life Sir Charles Villiers Stanford (30 September 1852 &ndash 29 March 1924 was an Irish composer resident in England for much of his life Herbert Whitton Sumsion ( 19 January 1899 &ndash 11 August 1995) was an English musician who was Organist of Gloucester Dr George Oldroyd (1887 - 1956 was an English Organist and Composer of Anglican church music Francis Alan Jackson CBE (born 2 October 1917 is pre-eminent as a British Organist and Composer. Herbert Norman Howells CH (17 October 1892 &ndash 23 February 1983 was an English Composer, organist, and teacher Kenneth Leighton ( Wakefield, October 2, 1929 &ndash Edinburgh, August 24, 1988) was an English Composer Thomas Tertius Noble ( May 5 1867 &ndash May 4 1953) was an English -born Organist and Composer, resident in Basil Harwood ( 11 April 1859 &ndash 3 April 1949) was an English organist and Composer. Charles Wood ( 15 June 1866 &ndash 12 July 1926) was an Irish Composer and teacher The Phrygian mode can refer to two different Musical modes or Diatonic scales the ancient Greek Phrygian mode and the Mediaeval Phrygian mode Pius X initiated many regulations to the mass music in the early 20th century. Saint Pius X ( Latin: Pius PP X) ( June 2, 1835 &mdash August 20, 1914) born Giuseppe Melchiorre Sarto, was the He felt that most of the masses composed by the famous composers were not appropriate for a church setting, and advocated primarily Gregorian chant and polyphony. He was primarily influenced by the work of the Abbey of Solesmes. Solesmes Abbey or St Peter's Abbey Solesmes ( Abbaye Saint-Pierre de Solesmes) is a Benedictine Monastery in Solesmes ( Some of the rules he put forth include the following:

• That any Mass be composed in an integrated fashion, not by assembling different compositions for different parts
• That all percussion instruments should be forbidden
• That ideally the choir should be all male
• That the congregation itself should ideally be trained to sing along with the Gregorian chant.

These regulations carry little if any weight today, especially after the reforms of the Second Vatican Council. The Second Ecumenical Council of the Vatican, or Vatican II, was the twentieth century Ecumenical Council of the Roman Catholic Church. Quite recently, Pope Benedict XVI has encouraged a return to chant as the primary music of the liturgy, as this is explicitly mentioned in the documents of the Second Vatican Council, specifically Sacrosanctum Concilium 116^[4]. Pope Benedict XVI ( Latin: Benedictus PP XVI; Italian: Benedetto XVI; German: Benedikt XVI; born Joseph Alois Ratzinger The Second Ecumenical Council of the Vatican, or Vatican II, was the twentieth century Ecumenical Council of the Roman Catholic Church.

Missa Brevis (Short Mass)

In addition, a number of composers wrote shorter, abbreviated masses, Missae Breves, which often missed out the longer movements. A missa brevis ( Latin, pl missae breves) is literally a "short Mass "

References

• Gustave Reese, Music in the Renaissance. Gustave Reese ( November 29 1899, New York City – – September 7 1977, Berkeley California) was an American New York, W. W. Norton & Co. , 1954. ISBN 0-393-09530-4
• Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 0-89917-034-X
• Lewis Lockwood, "Mass. " The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd. , 1980. ISBN 1-56159-174-2
• The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ISBN 0-674-61525-5
• M. Jennifer Bloxham, "Masses on Polyphonic Songs", in Robert Scherr, ed. , The Josquin Companion. Oxford University Press, 1999. ISBN 0-19-816335-5
• http://classicalmusic.about.com/od/theordinaryofthemass/f/gloria.htm
• Music of Mass in Catholic Encyclopedia

Notes

v • d • e  Gregorian chants of the Roman Mass
Ordinary: Proper: Accentus:		Kyrie | Gloria | Credo | Sanctus | Agnus Dei | Ite missa est or Benedicamus Domino Introit | Gradual | Alleluia or Tract | Sequence | Offertory | Communion Collect | Epistle | Gospel | Secret | Preface | Canon | Postcommunion