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The Mass as a form of musical composition is a choral composition that sets the fixed portions of the Eucharistic liturgy (principally that of the Roman Catholic Church) to music.
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. Sometimes the music in the Mass format was never intended to really be used in a real 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. Kyrie
The text of the Kyrie is simply: Kyrie eleison; Christe eleison; Kyrie eleison (Κυριε ελεησον; Χριστε ελεησον; Κυριε ελεησον). This is Greek for "Lord have mercy on us; Christ, have mercy on us; Lord, have mercy on us."
II. Gloria
The Gloria is a celebratory passage praising God and Christ, which sets the following text:
III. Credo
The longest text of the Mass, this is a setting in Latin of the Nicene Creed.
IV. Sanctus
This is a doxologyA doxology is a short hymn sung in praise of God (often the Trinity) in various Christian liturgies. The tradition comes from Jewish synagogue practice. In Latin, a doxology is added to many hymns and psalms when they are used in catholic worship. A typic praising the TrinityThis article concerns the holy Trinity of Christianity. For other uses of trinity see disambiguation. The Blessed Trinity is God, according to the doctrine of most branches of Christianity; the doctrine says that though God is one God, God exists in three which begins with the words Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth; pleni sunt coeli et terra gloria tua (Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of thy glory). There is also a section that begins with the words Hosanna in excelsis, "Hosanna in the highest."
V. Benedictus
This is a setting of the Latin words Benedictus qui venit in nomine Domini. (Blessed is he who comes in the name of the Lord).
After this is sung, the Hosanna is usually repeated.
VI. Agnus Dei
The Agnus DeiThe Agnus Dei the figure of a lamb bearing a cross, is a symbol of Jesus Christ as the Lamb of God''. The device is common in ecclesiastical art, but the name is especially given in the Church of Rome to a small cake made of the wax of the Easter candles is a setting of the Latin phrases,
Agnus Dei, qui tollis peccata mundi,
( Lamb of GodThe Lamb of God is a chant of the Catholic mass. It is chanted during the fraction rite. It has been set to music by many composers (see also Mass (music)). The Latin text is: : Agnus Dei, qui tollis peccata mundi: ::miserere nobis. Agnus Dei, qui tollis, who takes away the sins of the world, have mercy upon us / give us peace.)
In a liturgical Mass, there are other sections that may be sung, often in Gregorian chantGregorian chant is also known as plainchant or plainsong, and is a form of monophonic, unaccompanied singing, which was developed in the Catholic church, mainly during the period 800- 1000. It takes its name from Pope St. Gregory the Great. This music was. These sections, the "proper" of the mass, change with the day and season according to the Church calendar, and are usually not set to music by a composer who wishes to write a Mass. They can, and have been made the subject of motetIn Western music, motet is a word that is applied to a number of highly varied choral musical compositions. The name comes either from the Latin movere ("to move") or a Latinized version of Old French mot "word" or "verbal utterance. If from the Latin, ths and other musical compositions, however.
These sections of the Mass as a musical composition have been standard since the Middle Ages; the very earliest Masses may include other parts, and omit some of the standard ones. The first complete Mass we know of whose composer can be identified was the Messa de Nostre Dame (Mass of Our Lady) by Guillaume de Machaut in the 14th century. Many masses by Guillaume Dufay and others in the 15th and 16th centuries used melodies from popular songs, such as L'homme armé as cantus firmus, scandalizing the conservative-minded. Such a practice was of great antiquity, however; it had been attributed to the 4th century heretic, Arius, that he allowed his sacred songs or hymns contained in his book Thaleia to be set to melodies with infamous associations.
The mass as a musical form flourished during the Renaissance, where it served as the principal large-scale form of composition for most composers. Many important masses were composed by Josquin des Prez. At the end of the 16th century a cappella choral counterpoint reached an apogee in masses by the English William Byrd, the Castilian Tomas Luis de Victoria and the Roman Giovanni Pierluigi da Palestrina, whose Mass for Pope Marcellus is credited with saving polyphony from the censure of the Council of Trent. By the time of Palestrina, however, the mass had already been replaced by other forms, principally the motet and the madrigale spirituale, as the most significant outlet for expression in the realm of sacred music; composers such as Lassus wrote relatively few masses, preferring the greater latitude for expression offered by the other forms.
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. These include the B Minor Mass of Johann Sebastian Bach (who was not a Roman Catholic), Wolfgang Amadeus Mozart's Mass in C minor , the late masses of Joseph Haydn, and Ludwig van Beethoven's Missa Solemnis and Mass in C major . Great masses have been written since Schubert, but they have mostly been Requiems.
In the 20th century, composers continued to write masses, in an even wider diversity of style, form and function than before. Some examples include the Mass of Life by Frederick Delius; the Mass by Igor Stravinsky; the Mass by Leonard Bernstein.
See also: Requiem; Hymn; Vespers; Psalm; Antiphon; Sacred music
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