Mass and Offices
Introit (P)
Origins
• Pope arrived at the Church;
procession moved from entrance to altar
• function: designed to accompany actions of indeterminate length
• choir was signaled to skip to doxology and antiphon
• originally consisted of complete psalm w/doxology and antiphons at beg.,
end
• as ceremonies were later shortened, chants were abreviated, w/Introit retaining
a mere hint of its original form
• shortening occurred during 8th-9th C
• Introit eventually sung after priest reached foot of the altar, becoming
a musical prelude to service, rather than a processional chant
• form became: A-Ps-D-A
General
• beginning of sung portion
of Mass
• two styles evident:
1) psalm verse
& doxology (syllabic recitation w/ opening rises & cadential falls)
2) antiphon (music
surrounding psalm; more varied, w/ traces of reciting tone still evident)
Kyrie (O)
Origins
• Originally not part of
the Mass
• Kyrie introduced during 5th C from the East through Milan
• used as a refrain between litanies during procession to the Church on penitential
days in 6th-7th C
• litany, used at various points including opening ceremonies, was reduced
to a ninefold invocation which became standard Kyrie form: each of
thethree acclamations are sung three times each, thus providing composers
w/ framework for creating musical forms
• several early variants of this form
• as melodies became more elaborate, forms in turn became more complex, as
might be expected, but retaining a generic 3-part form
General
• 2 structural principles:
1) Kyrie melodies were unified by a common closing phrase, which
may
be either short or extended; in
more complex forms, 2 closing phrases
appear in alternation, deriving from
repetitive nature of litany res-
ponses: contrast derived from
text (Kyrie, Christe), followed by the
unifying "eleison"
2) elaboration of final invocation achieved by repetition of
preceding
Kyrie melodic segments, or combination
of Christe and Kyrie sections;
procedure derived from interpretations
of Kyrie as being symbolic of
the Trinity (Medieval mystical mindset);
practice effectively sums
and concludes the composition
• most Medieval Kyrie melodies came from the Franks
Gloria (O)
Origins
• like Kyrie, did not originate
as part of the Mass
• remnant of literature of ancient hymns imitating Biblical lyrics
• song of praise; included in Mass celebrated by a Bishop on festive
occaisons
• later extended to other feast days and Sundays
• originally intended for Congregational singing, but gradually pased on
to choirs during 8th-11th C
General
• known as hymnus angelicus
, or Greater Doxology
• text praises God, Christ, pleads for mercy
• opening phrase "Gloria in excelsis Deo" sung by bishop or celebrating priest,
w/ remaining text sung by
congregation or choir
• choir performed Gloria antiphonally after congregational singing disappeared
• restrictions on its use influenced small number of Gloria settings
• length of its text limited possibilities; most texts syllabic or
neumatic
• Gloria XV is oldest Liber Usualis melody
• no textual repetitions in text; set successive phrases in continuous flow
of varying melodies
• parallel text phrases mirrored in similar melodic material
• unity achieved from recurrent melodic figures, cadential patterns
• melodies sometimes organized into repetitive structures which do notcorrespond
w/ text: Gloria VIII-3 basic
phrases provide melodic material
• Gloria still omitted on weekdays, Masses for the Dead, other periods when
text is inappropriate
Gradual (P)
Origins
• early church: congregation
sang short responds between psalm verses
sung by soloist
• originally called a Responsory (responsorium, responsorium graduale, graduale
)
• term graduale thought to come from position of soloist on the step
(gradus) of pulpit
• as choirs replaced congregational responses, responds became choral chants,
becoming increasingly elaborate
• 4th-5thC: stylistic contrast between extremely ornate melissmas by
solo singers and congregation reduced by assigning responses to choir
• complete psalms reduced as musical elaborations increased; practical solution
shortened performance time
• Gradual eventually reduced to a choral respond, followed by a solo verse
• 13thC: repetition of respond after verse disappears
• performance practice evolved: solo intonation followed by choir singing
major part of the respond; soloist then continues w/psalm verse until
final phrase, where choir joined to provide increased sense of closure
General
• Graduals most elaborate
and melismatic of all chants
• in choral responds, common to find melismas of 20-30 notes, w/solo chants
exhibiting even longer melismas
• verses generally occur in higher range than responds
• centonization technique consistently applied, w/ different formulas used
as links which may be freely combined or arranged
• method of centonization differed according to applied mode
• use of formulas w/ variations and free material produced Graduals which
were highly individualized
• centonization practice associated w/Oriental and Jewish practices; attributed
to anitiquity of Graduals as a class, compared with newer types such as Alleluias
& Offertories
Alleluia (P)
Origins
• survives from Early forms
of the Mass
• originally chant from Easter season, but gradually came into use on special
feast days
• in 9thC, Alleluia often followed by a sequence
General
• Alleluia is Latin spelling
of Hebrew Hallelujah (praise ye Jehovah)
• expression of praise, used in a variety of ways in Christian liturgies
• originally associated w/ Jewish Passover; used in Christian liturgies in
Paschal time: Easter to Pentecost
• during Paschal time, word is added at the end of every chant in Offices
and Proper; from Saturday in Easter week to Pentecost, an Alleluia
replaces the Gradual, so that Masses have 2 Alleluias between Epistle and
Gospel at these times
• use more restrained in other seasons, but functions as independent chant
at Mass Proper except for penitential days and seasons such as Lent where
its use would be inappropriate
• today performed quite responsorial: cantors sing Alleluia, choir
repeats, continuing w/ melissma, the jubilus; cantor then sings major
part of verse, w/ choir joining for final phrase; cantor again sing
Alleluia, choir closes w/ Jubilus
• in later middle ages, concluding choral respond of Alleluia often ommitted:
normal procedure when followed by a sequence
• many texts adapted to the same melody
• w/ Gradual, considered to be "jewel of the Roman Mass"
Tract (P)
Origins
• term comes from tractus
-refers to protracted style or to continuous performance w/o respond or antiphon
as a refrain
• some tracts originally sung responsorially, identified as responsorium,
responsorium graduale in early manuscripts
• might represent early stage of responsorial psalmody from which responses
were later dropped
• evolved into final form consisting of 2-14 psalm verses, with complete
psalm being rarely used
• some tracts among longest chants in repertory
General
• Tract replaces Alleluia
during Lent & other penitential occasions
• Tract not necessarily sorrowful in itself
• restricted to 2nd & 8th modes
• with modal restrictions, centonization applied more systematically &
regulated sucession of standard phrases
• melodically ornate
• older chants begin phrases with recitative passages: psalm tones;
phrases cadence w/ elaborate melissmatic formulas
• majority of Tracts neumatic, expand into melissmas: style originated
from solo song
Credo (o)
Origins
• replaced closing prayers
of fore-mass
• like all of ordinary, originally intended for congregational use
• passed on to choirs gradually 8th-11th C
• formulated at Council of Nicea in 325: baptismal creed
• 6th C: appear in Spanish & Oriental liturgies
• 8th C: introduced into France from England, Ireland
• 10th C: general use in Northern Europe
• 1014: finally accepted by Rome into official liturgy
General
• chantbooks only contained
1 or 2 Credo melodies, hence its omission from formularies (redundant to
re-copy)
• few melodies attributed to its late admission
• function as a profession of faith: continued by congregation, rather
than choir
• long text a deterrent to composing new melodies
• Credo I thought to be the original Credo melody: 11th C manuscript;
possible Greek origin
• priest begins Credo; congregation then joins: only Ordinary chant thus
used; accounts for omission from later polyphonic masses
• antiphonal singing of Credo used to be frowned upon (goes against original
function) though now allowed
• rising intonation progresses to recitations on or aroung G
• cadences on G or D; A-Bb-A motive usually cadences F to G; motive
associated with either mention of trinity, or incarnation/crucifixtion/resurrection:
possible early form of text painting; at any rate, gives slight insight into
mystical Medieval mindset
• Credos V & VI are only other Medieval melodies
Offertory (p)
Origins
• Carry-over from earlier
forms of the Mass
• placed after dismissal of the Catechumens
• beginning of Sacrifice-Mass or Commonion of the Faithful
• offerings of gifts, animals, fruits of the field (3rd C)
• practice evolved into the offertory procession
• marked beginning of process whereby Mass evolved
• form and contents of Offertory changed continuously
General
• along w/Introit, Communion,
represents "newer" portion of Musical Proper
• antiphony introduced by St. Ambrose from East in 5thC to Rome
• antiphony always performed by choir; while styles preserved, forms
changed
• originally consisted of complete psalm w/ Doxology and antiphon at beg.,
end
• function: designed to accompany actions (procession) of indeterminate
length (sung by choir)
• choir is signaled to skip to Doxology/antiphons by priest
• as ceremonies were shortened, accompanying chants were also reduced, until
Offertory was finally reduced to an antiphon
• extended form reduced as procession was eliminated, but verses remained
until 11th C ; only responds (antiphons) remained, exceptions:
one verse in Mass for the Dead in 16thC; verses still present in Ambrosian,
Hispanic rites
• Offertory was only antiphonal chant to develop into responsorial psalmody;
established before first notated chantbooks
• elaboration of solo verses led to their reduction
• Medieval psalms: 1 to 4 verses; latter part of responds repeated
after each verse
• in complete form, most notable characteristic of Offertory is frequent
repetition of words & phrases, w/same or different music
• while repetitions characteristic of discarded verses, are occasionally
found in responds
• similar repetitions of melody only occurred in verses: aab common,
though many longer variants exist
• since characteristics of Offertory don't appear in older responsorial chants,
are considered indicative of later introduction of later responsorial singing
in the Offertory
• evidence of creative thinking: instead of using old formulas
(centonization, composers used textual/musical representation to unify chants
into works of art: personalized, dramatic nature prevented verses from
continued use; later reformed or phased out by the church
Sanctus (O)
Origins
• 3rd - 4th C: originally
included in Mass as a prayer of consecration
• at first a song for all the people
• 7th - 8th C: chorus of assisting clergy began to take over Sanctus;
however, congregation performance persisted until 10th - 12th C
• 10th - 14th C: many new melodies for Mass Ordinary, including 230
settings of Sanctus, of which 21 are included in Liber Usualis: characterized
by diversity of forms & styles
General
• simple recitatives regarded
as oldest
• while some are simple syllabic, majority are written in an ornate neumatic
style
• some simpler melodies may have been written later, intended for unskilled
choirs
• some simpler melodies exhibit sophisticated strutcture
• structure of three-fold Sanctus provided composer opportunity to experiment
with organization, taking into account the repetition factor of text
• one melody often used for different lines of text (2nd & 4th lines)
Agnus Dei (o)
Origins
• introduced to sacrifice-Mass
from Eastern Empire by clerics during Moslem invasions, becoming part of
Roman Mass in late 7th C (Greek Pope Sergius I)
• originally accompanied breaking of bread, but when that rite became superfluous,
Agnus Dei used to fill interval between Consecration & Communion
• related w/Kyrie: both were standard items in Eastern liturgy before
their introduction into Roman Mass
• "Dona Nobis Pacem ": concluding phrase replaced "misenere nobis "
as closing 3 parts of Agnus Dei during 10th-11th C; at same time, similar
changes occurred in Agnus Dei of Requiem Mass: "dona eis requiem "
closed first two phrases, "dona eis requiem sempiteruam " closed final phrase
• gradually lost its function as a congregational song: by end of 8th
C assigned to choir in Roman pontifical Masses; by 10th - 11th C: performance
generally passed to assisting clergy or trained choirs
• at this time, composers began introducing new settings: around 300
melodies, of which 20 settings are available
General
• many Agnus melodies adaptations
of pre-existing chants; forms simple straightforward: simple
aba ternary form appears in half of Agnus melodies in Liber Usualis
• none of LU melodies reflects change of text at close of 3rd acclamation:
musical forms did not follow textual organization
Communion (P) antiphonal
Origins
• in early ceremony, psalm
accompanied communion rites of Faithful
• consisted of a complete psalm with doxology or antiphon at beginning and
end
• designed to accompany actions of indeterminate length, with choir being
signaled by priest to skip to doxology and final antiphon
• as accompanying chants grew shorter, Communion reduced to an antiphon circa
12th C
• Communion oldest of three antiphonal Mass chants
• had same form as Introit, with same psalm but different antiphons
• eventually regarded as conclusion rather than accompaniment: sang
after Communion ceremony
General
• short and simple in style
• many similar to Office antiphons, with a few with moderatly extended melismas
• modal ambiguity led to disagreement among primary sources as to determining
mode of certain antiphons
Ite, Missa Est (O)
Origins
• dismissal of Faithful
in early Mass
• history partially unkown: originaly congregational respond with Deo
gratius
General
• majority of current formularies
use Kyrie melody for Ite, Missa Est
Benedicame Domino
• replaces Ite, missa est
in Masses that don't use Gloria
• appears to be of Gallican origin: unknown in Roman Mass before 11th
C
• in modern useage, Benedicamus Domino and its response (Deo gratius) sung
to same music as Ite, missa est