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Mass(music)
FromWikipedia,thefreeencyclopedia

TheMass(Latin:Missa),aformofsacredmusicalcomposition,isachoralcompositionthatsetsthe
invariableportionsoftheEucharisticliturgy(principallythatoftheCatholicChurch,theAnglican
Communion,andLutheranism)tomusic.MostMassesaresettingsoftheliturgyinLatin,theliturgical
sacredlanguageoftheCatholicChurch'sRomanliturgy,butthereareasignificantnumberwritteninthe
languagesofnonCatholiccountrieswherevernacularworshiphaslongbeenthenorm.Forexample,
therearemanyMasses(oftencalled"CommunionServices")writteninEnglishfortheChurchof
England.MusicalMassestaketheirnamefromtheCatholicliturgycalled"theMass"aswell.
Massescanbeacappella,thatis,withoutanindependentaccompaniment,ortheycanbeaccompanied
byinstrumentalobbligatosuptoandincludingafullorchestra.ManyMasses,especiallylaterones,were
neverintendedtobeperformedduringthecelebrationofanactualmass.

Contents
1FormoftheMass
1.1Ordinarium
1.1.1I.Kyrie
1.1.2II.Gloria
1.1.3III.Credo
1.1.4IV.SanctusandBenedictus
1.1.5V.AgnusDei
1.2Shortandsolemnmasses
1.2.1Missabrevis
1.2.2Missasolemnis
1.2.3Missabrevisetsolemnis
1.2.4OthertypesofMasseswithlessthanfiveoftheusualpartsoftheordinarium
1.3Othersections
1.3.1Proprium(TridentineMass)
1.3.2Otherdenominations
2Musicalsettings
2.1MiddleAges
2.2Renaissance
2.3BaroquethroughRomantic(CatholicandLutherantraditions)
2.3.1Majorworks
2.420thand21stcentury
2.4.1MusicalreformsofPiusX
2.4.2Majorworks
2.5MasseswrittenfortheAnglicanliturgy
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3Seealso
4References
5Notes
6Externallinks

FormoftheMass
Adistinctionismadebetweentextsthatrecurforeverymasscelebration(ordinarium,ordinary),and
textsthataresungdependingontheoccasion(proprium,proper).ForexamplefortheTridentineMass:
Ordinarium

Proprium
Introit

Kyrie
Gloria
GradualwithHallelujahorTract(Sequence)
Credo
Offertory
Sanctus,includingBenedictusandHosanna
AgnusDei
Communion
Ite,missaestorBenedicamus

Ordinarium
AMissatota("fullMass")consistsofamusicalsettingofthefivesectionsoftheordinariumaslisted
below.
I.Kyrie
TheKyrieisthefirstmovementofasettingoftheOrdinaryoftheMass:
KyrieeleisonChristeeleisonKyrieeleison(..)
LordhavemercyChrist,havemercyLord,havemercy.
Thisisfromtheancient(BiblicalNewTestament)Greeklanguage,unliketherestofthemasswhichis
Latin.
Kyriemovementsoftenhaveastructurethatreflectstheconcisionandsymmetryofthetext.Manyhave
aternary(ABA)form,wherethetwoappearancesofthephrase"Kyrieeleison"consistofidenticalor
closelyrelatedmaterialandframeacontrasting"Christeeleison"section.OrAAABBBCCC'formis
alsofoundlateron.Famously,Mozartsetsthe"Kyrie"and"Christe"textsinhisRequiemMassasthe
twosubjectsofadoublefugue.

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II.Gloria
TheGloriaisacelebratorypassagepraisingGodtheFatherandChrist:
GloriainexcelsisDeoetinterrapaxhominibusbonaevoluntatis.Laudamuste,benedicimuste,
adoramuste,glorificamuste,gratiasagimustibiproptermagnamgloriamtuam,
GlorytoGodinthehighest,andonearthpeacetomenofgoodwill.WepraiseYou,we
blessYou,weadoreYou,weglorifyYou,wegiveyouthanksforYourgreatglory,
DomineDeus,Rexcaelestis[coelestis],DeusPateromnipotens.
LordGod,heavenlyKing,GodtheAlmightyFather.
DomineFiliunigenite,JesuChriste,DomineDeus,AgnusDei,FiliusPatris,quitollispeccata
mundi,misererenobis
LordJesusChrist,onlybegottenSon,LordGod,LambofGod,SonoftheFather,Youwho
takeawaythesinsoftheworld,havemercyonus
quitollispeccatamundi,suscipedeprecationemnostram.QuisedesaddexteramPatris,miserere
nobis.
Youwhotakeawaythesinsoftheworld,hearourprayers.Youwhositattherighthandof
theFather,havemercyuponus.
QuoniamtusolusSanctus,tusolusDominus,tusolusAltissimus,JesuChriste,cumSanctoSpiritu
ingloriaDeiPatris.Amen.
ForYouarealonearetheHolyOne,youalonetheLord,youalonetheMostHigh,Jesus
Christ,withtheHolySpiritinthegloryofGodtheFather,Amen.
InMasssettings(normallyinEnglish)composedfortheChurchofEngland'sBookofCommonPrayer
liturgy,theGloriaiscommonlythelastmovement,becauseitoccursinthispositioninthetextofthe
service.InOrderOneofthenewerCommonWorshipliturgy,however,itisrestoredtoitsearlierseason.
III.Credo
TheCredo,asettingoftheNiceneCreed,isthelongesttextofasungMass:
CredoinunumDeum,Patremomnipotentem,
IbelieveinoneGod,theFatherAlmighty
factoremclietterrae,visibiliumomniumetinvisibilium.

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Makerofheavenandearth,ofallthingsvisibleandinvisible:
EtinunumDominum,JesumChristum,
AndinoneLord,JesusChrist,
FiliumDeiunigenitum,etexPatrenatumanteomniasaecula.
theonlybegottenSonofGod,bornoftheFatherbeforeallages
DeumdeDeo,LumendeLumine,DeumverumdeDeovero,
GodfromGod,LightfromLight,trueGodfromtrueGod
genitumnonfactum,consubstantialemPatri
begotten,notmade,consubstantialwiththeFather,
perquemomniafactasunt.
byWhomallthingsweremade
Quipropternoshominesetpropternostramsalutemdescenditdeclis.
WhoforusmenandforoursalvationcamedownfromHeaven.
EtincarnatusestdeSpirituSanctoexMariaVirgine,ethomofactusest.
andwasincarnatebytheHolyGhostoutoftheVirginMary,andwasmademan:
CrucifixusetiampronobissubPontioPilatopassus,etsepultusest,
HewasalsocrucifiedforusunderPontiusPilateHesufferedandwasburied:
etresurrexittertiadie,secundumScripturas,
AndonthethirddayroseagainaccordingtotheScripture:
etascenditinclum,sedetaddexteramPatris.
AndascendedintoHeaven,andsitsontherighthandoftheFather:
Etiterumventurusestcumgloria,iudicarevivosetmortuos,
AndHeshallcomeagain,withglory,tojudgethelivingandthedead:
cuiusregninoneritfinis
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OfHisKingdomthereshallbenoend
EtinSpiritumSanctum,Dominumetvivificantem,
AndIbelieveintheHolySpirit,theLord,andGiverofLife,
quiexPatreFilioqueprocedit.
WhoproceedsfromtheFatherandtheSon
QuicumPatreetFiliosimuladoraturetconglorificatur:
Who,withtheFatherandtheSon,istogetheradoredandglorified,
quilocutusestperprophetas.
WhohasspokenthroughtheProphets.
Etunam,sanctam,catholicametapostolicamEcclesiam.
AndIbelieveinOne,Holy,Catholic,andApostolicChurch,
Confiteorunumbaptismainremissionempeccatorum.
IconfessoneBaptismfortheremissionofsins.
Etexpectoresurrectionemmortuorum,
AndIawaittheResurrectionoftheDead:
etvitamventurisaeculi.Amen.
AndtheLifeoftheworldtocome.Amen.
Organizersofinternationalcelebrations,suchasWorldYouthDay,havebeenencouragedbyRometo
familiarizecongregantsintheLatinchantsfortheOurFatherandtheCredo,specificallyCredoIII(17th
century,FifthMode)fromtheMissadeAngelis.ThepurposeofsingingthesetwotextsinLatinisto
engenderasenseofunityinthefaithful,allofwhomthussingtheprayerofJesusandthesharedbelief
oftheuniversalChurchinthesamelanguage.
IV.SanctusandBenedictus
TheSanctusisadoxologypraisingtheTrinity:
Sanctus,Sanctus,SanctusDominusDeusSabaothplenisuntcoelietterragloriatua
Holy,Holy,HolyLordGodofHostsHeavenandeartharefullofYourglory.
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Hosannainexcelsis
Hosannainthehighest.
AvariantexistsinLutheransettingsoftheSanctus.Whilemosthymnalsettingskeepthesecondperson
pronoun,othersettingschangethesecondpersonpronountothethirdperson.Thisismostnotablein
J.S.Bach'sMassinBminor,wherethetextreadsgloriaejus("Hisglory").MartinLuther'schorale
Isaiah,MightyinDaysofOld,andFelixMendelssohn'ssettingoftheHeilig!(GermanSanctus)fromhis
DeutscheLiturgiealsousethethirdperson.
TheBenedictusisacontinuationoftheSanctus:
BenedictusquivenitinnomineDomini.
BlessedisHewhocomesinthenameoftheLord
HosannainexcelsisisrepeatedaftertheBenedictussection,oftenwithmusicalmaterialidenticaltothat
usedaftertheSanctus,orverycloselyrelated.
InGregorianchanttheSanctus(withBenedictus)wassungwholeatitsplaceinthemass.However,as
composersproducedmoreembellishedsettingsoftheSanctustext,themusicoftenwouldgoonsolong
thatitwouldrunintotheconsecrationofthebreadandwine.Thiswasconsideredthemostimportant
partoftheMass,socomposersbegantostoptheSanctushalfwaythroughtoallowthistohappen,and
thencontinueitaftertheconsecrationisfinished.Thispracticewasforbiddenforaperiodinthe20th
century.
V.AgnusDei
TheAgnusDeiisasettingofthe"LambofGod"litany:
AgnusDei,quitollispeccatamundi,
LambofGod,whotakesawaythesinsoftheworld,
misererenobis.
havemercyuponus.
AgnusDei,quitollispeccatamundi,
LambofGod,whotakesawaythesinsoftheworld,
misererenobis.
havemercyuponus.
AgnusDei,quitollispeccatamundi,
LambofGod,whotakesawaythesinsoftheworld,
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donanobispacem.
grantuspeace.
InaRequiemMass,thewords"misererenobis"arereplacedby"donaeisrequiem"(grantthemrest),
while"donanobispacem"isreplacedby"donaeisrequiemsempiternam"(grantthemeternalrest).

Shortandsolemnmasses
ThereissomeadditionalterminologyregardingMasssettingsindicatingwhetherornottheyincludeall
fiveusualsectionsoftheordinarium,andwhetherornotthemassisintendedforexceptionallyfestive
occasions.
Missabrevis
Missabrevis(literally:shortmass)may,dependingontimeandconventions,indicatethesettingofa
subsetofthefiveordinarymassparts(e.g.MassescontainingonlyasettingoftheKyrieandtheGloria),
oramasscontainingalltheseparts,butrelativelyshortinduration,oramassinasettingthatisless
extendedinvocalandorchestralforcesthanthatofaNeapolitanmass.
Missalonga("longMass")canindicatethecounterpartofMissabreviswhentheaspectofdurationis
considered.
Missasolemnis
Missasolemnisindicatesasolemnmass,usuallyforspecialfestiveoccasionsandwithanextended
vocalandorchestralsetting.InthatsenseMissabrevisissometimesusedtoindicatethecounterpartofa
Missasolemnis.
Missabrevisetsolemnis
TheMissabrevisetsolemnis(shortandsolemn)isanexceptionalformat,foritsbestknowninstances
tiedtotheSalzburgofarchbishopHieronymusColloredo,althoughearlierexamplesareextant.Mozart
describeditthusinaletterhewrotein1776("theArchbishop"inthisquotationreferstoColloredo):[1][2]

OurchurchmusicisverydifferentfromthatofItaly,sinceaMasswiththewhole
Kyrie,theGloria,theCredo,theEpistlesonata,theOffertoryormotet,theSanctusand
theAgnusDeimustnotlastlongerthanthreequartersofanhour.Thisappliesevento
themostSolemnMassspokenbytheArchbishophimself.Specialstudyisrequiredfor
thiskindofcomposition,particularlyastheMassmusthaveafullcontingentof
instrumentstrumpets,drumsandsoforth.

The"brevisetsolemnis"descriptionappliestoseveraloftheMassesMozartcomposedinSalzburg
between1775and1780,theSparrowMassbeingconsideredasitsfirstinstanceforthiscomposer.[1][2]
Tongueincheek,andnotindebtedtoViennesetraditions,GioachinoRossiniqualifiedoneofhislast
compositions,amass,asboth"petite"("small")and"solennelle"("solemn").Inthiscase"small"rather
referstothemodestforcesneededforitsperformance,and"solemn"toitsduration,althoughlater
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commentatorswoulddescribethecompositionas"neithersmallnorsolemn".[3]
OthertypesofMasseswithlessthanfiveoftheusualpartsoftheordinarium
Missasenzacredo("MasswithoutaCredo")indicatesamusicalsettingoftheusualpartsoftheMass
ordinarywithexceptionoftheCredo.
DuringLent(inLatin:Quadragesima)andAdvent(inLatin:Adventus)theGloriaisnotsung.Thus
Missa(in)tempore(Adventuset)Quadragesimae,"Massfortheperiodof(Adventand)Lent"indicates
aMasscompositionwithoutmusicfortheGloria.MichaelHaydncomposedamasssuitableforLent
andAdvent,theMissaTemporeQuadragesimae,inDminorforthemodestforcesofforjustchoirand
organ.

Othersections
TheProperoftheMassisusuallynotsettomusicinaMassitself,exceptinthecaseofaRequiem
Mass,butmaybethesubjectofmotetsorothermusicalcompositions.SomeMasscompositions,like
forinstanceRossini'sPetitemessesolennelle,dohowevercontainpartsoutsidetheOrdinarium.Some
Masscompositionsevenconsistentirelyofsuchadditions:Schubert'sDeutscheMesse,asetofeight
hymnswithepilogue,[4]isanexampleofsuchamass.
Proprium(TridentineMass)
InaliturgicalMass,thereareothersectionsthatmaybesung,ofteninGregorianchant.Thesesections,
the"Proper"oftheMass,changewiththedayandseasonaccordingtotheChurchcalendar,oraccording
tothespecialcircumstancesoftheMass.ThesectionsoftheProperoftheMassincludetheIntroit,
Gradual,AlleluiaorTract(dependingonthetimeofyear),OffertoryandCommunion.
Otherdenominations
FollowingthedistributionoftheSacrament,itiscustomaryinmostLutheranchurchestosingtheNunc
Dimittis.

Musicalsettings
MiddleAges
TheearliestmusicalsettingsoftheMassareGregorianchant.ThedifferentportionsoftheOrdinary
cameintotheliturgyatdifferenttimes,withtheKyrieprobablybeingfirst(perhapsasearlyasthe7th
century)andtheCredobeinglast(itdidnotbecomepartoftheRomanmassuntil1014).[5]
Intheearly14thcentury,composersbeganwritingpolyphonicversionsofthesectionsoftheOrdinary.
Thereasonforthissurgeininterestisnotknown,butithasbeensuggestedthattherewasashortageof
newmusicsincecomposerswereincreasinglyattractedtosecularmusic,andoverallinterestinwriting
sacredmusichadenteredaperiodofdecline.[6]Thenonchangingpartofthemass,theOrdinary,then
wouldhavemusicwhichwasavailableforperformanceallthetime.

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Twomanuscriptsofthe14thcentury,theIvreaCodexandtheAptCodex,aretheprimarysourcesfor
polyphonicsettingsoftheOrdinary.Stylisticallythesesettingsaresimilartobothmotetsandsecular
musicofthetime,withathreevoicetexturedominatedbythehighestpart.Mostofthismusicwas
writtenorassembledatthepapalcourtatAvignon.
Severalanonymouscompletemassesfromthe14thcenturysurvive,includingtheTournaiMass
however,discrepanciesinstyleindicatethatthemovementsofthesemasseswerewrittenbyseveral
composersandlatercompiledbyscribesintoasingleset.ThefirstcompleteMassweknowofwhose
composercanbeidentifiedwastheMessedeNostreDame(MassofOurLady)byGuillaumede
Machautinthe14thcentury.

Renaissance
Mainarticles:CyclicMassorCantusfirmusMass,ParaphraseMass,ParodyMass
ThemusicalsettingoftheOrdinaryoftheMasswastheprincipallargescaleformoftheRenaissance.
Theearliestcompletesettingsdatefromthe14thcentury,withthemostfamousexamplebeingthe
MessedeNostreDameofGuillaumedeMachaut.IndividualmovementsoftheMass,andespecially
pairsofmovements(suchasGloriaCredopairs,orSanctusAgnuspairs),werecommonlycomposed
duringthe14thandearly15thcenturies.CompleteMassesbyasinglecomposerwerethenormbythe
middleofthe15thcentury,andtheformoftheMass,withthepossibilitiesforlargescalestructure
inherentinitsmultiplemovementformat,wasthemainfocusofcomposerswithintheareaofsacred
musicitwasnottobeeclipseduntilthemotetandrelatedformsbecamemorepopularinthefirst
decadesofthe16thcentury.
Most15thcenturyMasseswerebasedonacantusfirmus,usuallyfromaGregorianchant,andmost
commonlyputinthetenorvoice.Thecantusfirmussometimesappearedsimultaneouslyinothervoices,
usingavarietyofcontrapuntaltechniques.Laterinthecentury,composerssuchasGuillaumeDufay,
JohannesOckeghem,andJacobObrecht,usedseculartunesforcantusfirmi.Thispracticewasaccepted
withlittlecontroversyuntilprohibitedbytheCouncilofTrentin1562.Inparticular,thesongL'homme
armhasalonghistorywithcomposersmorethan40separateMasssettingsexist.
OthertechniquesfororganizingthecyclicMassevolvedbythebeginningofthe16thcentury,including
theparaphrasetechnique,inwhichthecantusfirmuswaselaboratedandornamented,andtheparody
technique,inwhichseveralvoicesofapolyphonicsource,notjustone,wereincorporatedintothe
textureoftheMass.Paraphraseandparodysupplantedcantusfirmusasthetechniquesofchoiceinthe
16thcentury:Palestrinaalonewrote51parodymasses.
YetanothertechniqueusedtoorganizethemultiplemovementsofaMasswascanon.Theearliest
MassesbasedentirelyoncanonareJohannesOckeghem'sMissaprolationum,inwhicheachmovement
isaprolationcanononafreelycomposedtune,andtheMissaL'hommearmofGuillaumeFaugues,
whichisalsoentirelycanonicbutalsousesthefamoustuneL'hommearmthroughout.PierredeLaRue
wrotefourseparatecanonicmassesbasedonplainchant,andoneofJosquindesPrez'smatureMasses,
theMissaAdfugam,isentirelycanonicandfreeofborrowedmaterial.[7]
TheMissaSinenomine,literally"Masswithoutaname",referstoaMasswrittenonfreelycomposed
material.SometimestheseMasseswerenamedforotherthings,suchasPalestrina'sfamousMissaPapae
Marcelli,theMassofPopeMarcellus,andmanytimestheywerecanonicMasses,asinJosquin'sMissa
Sinenomine.

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ManyfamousandinfluentialmasseswerecomposedbyJosquindesPrez,thesinglemostinfluential
composerofthemiddleRenaissance.Attheendofthe16thcentury,prominentrepresentativesofa
cappellachoralcounterpointincludedtheEnglishmanWilliamByrd,theCastilianTomsLuisde
VictoriaandtheRomanGiovanniPierluigidaPalestrina,whoseMassforPopeMarcellusissometimes
creditedwithsavingpolyphonyfromthecensureoftheCouncilofTrent.BythetimeofPalestrina,
however,mostcomposersoutsideofRomewereusingotherformsfortheirprimarycreativeoutletfor
expressionintherealmofsacredmusic,principallythemotetandthemadrigalespiritualecomposers
suchasthemembersoftheVenetianSchoolpreferredthepossibilitiesinherentinthenewforms.Other
composers,suchasOrlandedeLassus,workinginMunichandcomfortablydistantfromthe
conservativeinfluenceoftheCouncilofTrent,continuedtowriteParodyMassesonsecularsongs.
MonteverdicomposedMassesinstileantico,theMissainillotemporewaspublishedin1610,one
Messaa4dacappellain1641aspartofSelvamoraleespiritualealongwithsinglemovementsofthe
Massinstileconcertato,anotherMessaa4dacappellawaspublishedafterhisdeath,in1650.

BaroquethroughRomantic(CatholicandLutherantraditions)
TheearlyBaroqueerainitiatedstylisticchangeswhichledtoincreasingdisparitybetweenmasses
writtenentirelyinthetraditionalpolyphonicmanner(stileantico),whoseprincipaladvancementswere
theuseofthebassocontinuoandthegradualadoptionofawiderharmonicvocabulary,andthemassin
modernstylewithsolovoicesandinstrumentalobbligatos.ComposerssuchasHenriDumont(1610
1684)continuedtocomposeplainsongsettings,distinctfromandmoreelaboratethantheearlier
Gregorianchants.[8]
Afurtherdisparityarosebetweenthefestivemissasolemnisandthemissabrevis,amorecompact
setting.ComposerslikeFuxinthe18thcenturycontinuedtocultivatethestileanticomass,whichwas
suitableforuseonweekdaysandattimeswhenorchestralmasseswerenotpracticalorappropriate,and
in19thcenturyGermanytheCecilianmovementkeptthetraditionalive.TheItalianstylecultivated
orchestralmassesincludingsoloists,chorusandobbligatoinstruments,spreadtotheGermanspeaking
CatholiccountriesnorthoftheAlps,andusedinstrumentsforcolorandcreateddialoguesbetweensolo
voicesandchorusthatwastobecomecharacteristicofthe18thcenturyViennesestyle.Thesocalled
"Neapolitan"or"cantata"massstylealsohadmuchinfluenceon18thcenturymasscompositionwithits
shortsectionssetasselfcontainedsoloariasandchorusesinavarietyofstyles.[9]
The18thcenturyViennesemasscombinesoperaticelementsfromthecantatamasswithatrendinthe
symphonyandconcertotoorganizechoralmovements.Thelargescalemassesofthefirsthalfofthe
centurystillhaveGloriasandCredosdividedintomanymovements,unlikesmallermassesforordinary
churches.ManyofMozart'smassesareinmissabrevisform,asaresomeofHaydn'searlyones.Later
masses,especiallyofHaydn,areofsymphonicstructure,withlongsectionsdividedintofewer
movements,organizedlikeasymphony,withsoloistsusedasanensembleratherthanasindividuals.
Thedistinctionbetweenconcertmassesandthoseintendedforliturgicalusealsocameintoplayasthe
19thcenturyprogressed.[9]
Majorworks
AftertheRenaissance,themasstendednottobethecentralgenreforanyonecomposer,yetsomeofthe
mostfamousofallmusicalworksoftheBaroque,Classical,andRomanticperiodsaremasses.Manyof
themostfamousofthegreatmassesoftheRomanticerawereRequiemmasses.
AmongtheMasseswrittenfortheOrdinaryoftheMassare:

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MessaConcertatabyCavalli(1656)
MissaScalaAretinabyFrancescValls(Barcelona,1702)
MassinBminor(Flash(http://oregonbachfestival.com/digitalbach/cuepoints/))andfourMissae
byBach
"HighMasses"byCzechBaroquecomposerJanDismasZelenka
GreatMassinCminorand18othersbyMozart(1782)
RequiemMassinDMinorbyMozart
12massesofJosephHaydn,includingNelsonMassandMassinTimeofWar
MassinCmajorandMissaSolemnisinDMajorbyBeethoven
MassinGMajorand5othersbySchubert
MissaChoralisandHungarianCoronationMassbyLiszt
MassinDMinor,MassinEMinorandMassinFMinorbyBruckner
St.CeciliaMassand13othersbyGounod
MessabyPuccini
Petitemessesolennelle(1863)byGioachinoRossini
MassinDminor,op.10(1866)byJohnKnowlesPaine
RequiembyGabrielFaur
RequiembyGiuseppeVerdi
RequieminBflatminor(1890)byAntonnDvok
MassinDmajor,Op.86(1887)byAntonnDvok

20thand21stcentury
Bytheendofthe19thcentury,composerswerecombiningmodernelementswiththecharacteristicsof
Renaissancepolyphonyandplainchant,whichcontinuedtoinfluence20thcenturycomposers,possibly
fueledbytheMotuProprio(1903)ofPopePiusX.TherevivalofchoralcelebrationofHoly
CommunionintheAnglicanChurchinthelate19thcenturymarkedthebeginningseveralliturgical
settingsofMasstextsinEnglish,particularlyforchoirandorgan.[10]Themovementforliturgicalreform
hasresultedinrevisedformsoftheMass,makingitmorefunctionalbyusingavarietyofaccessible
styles,popularorethnic,andusingnewmethodssuchasrefrainandresponsetoencourage
congregationalinvolvement.[10]Nevertheless,themassinitsmusicalincarnationcontinuestothrive
beyondthewallsofthechurch,asisevidentinmanyofthe21stcenturymasseslistedherewhichwere
composedforconcertperformanceratherthaninserviceoftheRomanRite.
MusicalreformsofPiusX
PopeSt.PiusXinitiatedmanyregulationsreformingtheliturgicalmusicoftheMassintheearly20th
century.HefeltthatsomeoftheMassescomposedbythefamouspostRenaissancecomposersweretoo
longandoftenmoreappropriateforatheatricalratherthanachurchsetting.Headvocatedprimarily
Gregorianplainchantandpolyphony.HewasprimarilyinfluencedbytheworkoftheAbbeyof
Solesmes.Someoftherulesheputforthincludethefollowing:
ThatanyMassbecomposedinanintegratedfashion,notbyassemblingdifferentcompositionsfor
differentparts
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Thatallpercussiveinstrumentsshouldbeforbidden
Thatideallythechoirshouldbeallmale
ThatthecongregationitselfshouldideallybetrainedtosingthevariousmodesofGregorianchant
alongwiththechoir.
Theseregulationscarrylittleifanyweighttoday,especiallyafterthechangesoftheSecondVatican
Council.Quiterecently,PopeBenedictXVIhasencouragedareturntochantastheprimarymusicof
theliturgy,asthisisexplicitlymentionedinthedocumentsoftheSecondVaticanCouncil,specifically
SacrosanctumConcilium116.[11]
Majorworks
20thcentury
Inthe20thcentury,composerscontinuedtowritemasses,inanevenwiderdiversityofstyle,formand
functionthanbefore.
RequiemMassbyHerbertHowells
RequiembyMauriceDurufl
MassinGbyFrancisPoulenc
MesseSolennellebyJeanLanglais
GlagoliticMass(1926)byLeoJanek
MassinGminorbyRalphVaughanWilliams
MassbyIgorStravinsky
MassbyLeonardBernstein
WarRequiembyBenjaminBritten
Requiem,forsopranoandmezzosopranosolo,mixedchorusandorchestra(196365)byGyrgy
Ligeti
RequiembyAndrewLloydWebber
MassinFMinorbyTheElectricPrunes
MassbyDavidMaslanka
BerlinerMesseandMissaSyllabicabyArvoPrt
MassbyFrankMartin
ASymphonicMassbyGeorgeLloyd
MissaLaudatePueribyBertoldHummel[1]
(http://www.bertoldhummel.de/english/commentaries/opus_98B.html)
MassoftheChildren,Requiem,andGloriabyJohnRutter
MassToHopebyDaveBrubeck
MisaCriollabyArielRamrez
MisabyRodrigoPrats
NewPlainsongMassbyDavidHurd
MassinHonorofSt.CeciliabyLouHarrison
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AfricanSanctusbyDavidFanshawe
21stcentury
MissaLatina:proPacebyRobertoSierra
MissaproPace(MassforPeace)byKentaroSato
TheArmedMan:AMassforPeacebyKarlJenkins
SonofGodMassbyJamesWhitbourn
MissaCarolae(MassfromChristmasCarols)byJamesWhitbourn
BrightMasswithCanonsbyNicoMuhly
MisaFlamencabyPacoPea
RequiembyChristopherRouse
MissaBrevisbyDouglasKnehans
MissaGongso,forchoirandgamelan,byNeilSorrell
Messebrve:"AcclamezleSeigneur!",inFrenchforchoirandorgan(2011)byJeanHuot[12]
MessedelaMisricordedivine,inFrenchforchoirandorgan(2015)byJeanHuot[13]

MasseswrittenfortheAnglicanliturgy
Thesearemoreoftenknownas'CommunionServices',anddiffernotonlyinthattheyaresettingsof
Englishwords,butalso,asmentionedabove,inthattheGloriausuallyformsthelastmovement.
SometimestheKyriemovementtakestheformofsungresponsestotheTenCommandments,1to9
beingfollowedbythewords'Lordhavemercyuponusandinclineourheartstokeepthislaw',andthe
tenthby'Lordhavemercyuponusandwriteallthesethylawsinourhearts,webeseechthee'.Sincethe
textsofthe'Benedictusquivenit'andthe'AgnusDei'donotactuallyfeatureintheliturgyofthe1662
BookofCommonPrayer,thesemovementsareoftenmissingfromsomeoftheearlierAnglicansettings.
CharlesVilliersStanfordcomposedaBenedictusandAgnusinthekeyofFmajorwhichwaspublished
separatelytocompletehisserviceinC.
WithreformsintheAnglicanliturgy,themovementsarenowusuallysunginthesameorderthatthey
areintheRomanCatholicrite,leading,accordingtosome,tothemusicalintegrityofthesettingsbeing
somewhatcompromised.ChoralsettingsoftheCreed,themostsubstantialmovement,arerarely
performedinAnglicancathedralsnow.
WellknownAnglicansettingsoftheMass,whichmaybefoundintherepertoireofmanyEnglish
cathedralsare:
DarkeinF
DarkeinE
DarkeinAminor
IrelandinC
StanfordinC&F
StanfordinBflat
StanfordinA
SumsioninF
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Oldroyd,MassoftheQuietHour
JacksoninG
Howells,CollegiumRegale
LeightoninD
NobleinBminor
HarwoodinAflat
WoodinthePhrygianmode

Seealso
Alternatim

References
GustaveReese,MusicintheRenaissance.NewYork,W.W.Norton&Co.,1954.ISBN0393
095304
HaroldGleasonandWarrenBecker,MusicintheMiddleAgesandRenaissance(MusicLiterature
OutlinesSeriesI).Bloomington,Indiana.FrangipaniPress,1986.ISBN089917034X
LewisLockwood,"Mass"TheNewGroveDictionaryofMusicandMusicians,ed.StanleySadie.
20vol.London,MacmillanPublishersLtd.,1980.ISBN1561591742
TheNewHarvardDictionaryofMusic,ed.DonRandel.Cambridge,Massachusetts,Harvard
UniversityPress,1986.ISBN0674615255
M.JenniferBloxham,"MassesonPolyphonicSongs",inRobertScherr,ed.,TheJosquin
CompanionOxfordUniversityPress,1999.ISBN0198163355
http://classicalmusic.about.com/od/theordinaryofthemass/f/gloria.htm
DennisArnold,JohnHarper,"Mass16002000"GroveMusicOnline.OxfordMusicOnline.
"MusicoftheMass".CatholicEncyclopedia.NewYork:RobertAppletonCompany.1913.
Roche,ElizabethandAlexLingas."Mass"TheOxfordCompaniontoMusic.Ed.AlisonLatham.
OxfordMusicOnline.

Notes
1. Eisen,CliffKeefe,Simon,eds.(2006).TheCambridgeMozartEncyclopedia
(http://books.google.com.au/books?id=8o6mVjlSzM4C&dq).pp.271274.
2. WalterSenn,NMASeriesI:GeistlicheGesangwerke,GroupI(MassesandRequiem),DivisionI:Masses,
Volume2,Preface,pp.VIIIIX(http://dme.mozarteum.at/DME/nma/nma_cont.php?
vsep=3&gen=&l=1&p1=25)1975.
3. LaPetiteMesseSolennelledeRossini(http://www.lepetitjournal.net/011016148853LaPetiteMesse
SolennelledeRossini.html_887)inLepetitjournal,10April2014
4. BrianNewbould.Schubert:TheMusicandtheMan,pp.284285.(http://books.google.com.au/books?id=
Faikq3F8VYC&pg=PA285&dq=%22set+of+eight+hymns+with+epilogue%22&hl=nl&sa=X&ei=ogl6VMqkN
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YztaPzlgegF&ved=0CBwQ6AEwAA#v=onepage&q=%22set%20of%20eight%20hymns%20with%20epilogue
%22&f=false)UniversityofCaliforniaPress,1999.ISBN0520219570ISBN9780520219571
5. HarvardDictionaryofMusic,p.472.
6. Lockwood,"Mass",Grove(1980)
7. Bloxham,p.196
8. BenjaminvanWye,ReviewofMarcAntoineCharpentier,MessepourlePortRoyal,inJournalof
SeventeenthCenturyMusic1999(http://sscmjscm.press.illinois.edu/v5/no1/vanwye.html)
9. Roche,ElizabethandAlexLingas."Mass"TheOxfordCompaniontoMusic.Ed.AlisonLatham.Oxford
MusicOnline.
10. McKinnon,JamesW.etal.Mass.GroveMusicOnline.OxfordMusicOnline.
11. ConstitutionontheSacredLiturgySacrosanctumConcilium
(http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat
ii_const_19631204_sacrosanctumconcilium_en.html#116)
12. http://www.diosher.org/file/Ens_AVRIL.pdf
13. http://www.diosher.org/file/pdf/ensemble/Web_Ensemble_Vol_46_no_1_janv._2015

Externallinks
JohannSebastianBach'sMassinBMinor(http://oregonbachfestival.com/digitalbach/bminor/)
Retrievedfrom"http://en.wikipedia.org/w/index.php?title=Mass_(music)&oldid=654090580"
Categories: StructureoftheMass Christianmusicformats Medievalmusic Renaissancemusic
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