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50-671: Most Masses are settings of the liturgy in Latin , the sacred language of the Catholic Church's Roman Rite , but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council , and others (often called "communion services") for

100-538: A cantus firmus , typically chosen from plainsong or some other sacred source. It was a common means of mass composition from the late 15th century until the end of the 16th century, during the Renaissance period in music history, and was most frequently used by composers in the parts of western Europe which remained under the direct control of the Roman Catholic Church . It is distinguished from

150-410: A polyphonic texture where all the voices had equal weight. Later in the 16th century, paraphrase remained a common technique for construction of masses, although it was employed far less frequently than was parody technique. Palestrina used paraphrase technique in 31 of his masses, second only to parody, which he used in 51. Most of his masses based on hymns are paraphrase masses. In these works,

200-539: A M issa Et ecce terrae motus with the employment of twelve voices, Stefano Bernardi created masses for double choir for the balconies of the Salzburg Cathedral , such as the 1630 Missa primi toni octo vocum , when he was music director of the new building. The early Baroque era initiated stylistic changes which led to increasing disparity between masses written entirely in the traditional polyphonic manner (stile antico), whose principal advancements were

250-625: A single set. 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. The musical setting of the Ordinary of the mass was the principal large-scale form of the Renaissance. The earliest complete settings date from the 14th century, with the most famous example being the Messe de Nostre Dame of Guillaume de Machaut . Individual movements of

300-516: A symphony, with soloists used as an ensemble rather than as individuals. The distinction between concert masses and those intended for liturgical use also came into play as the 19th century progressed. After the Renaissance, the mass tended not to be the central genre for any one composer, yet among the most famous works of the Baroque, Classical, and Romantic periods are settings of the Ordinary of

350-462: A theatrical rather than a church setting. He advocated primarily Gregorian plainchant and polyphony. He was primarily influenced by the work of the Abbey of Solesmes . Some of the rules he put forth include the following: These regulations carry little if any weight today, especially after the changes of the Second Vatican Council . Quite recently, Pope Benedict XVI has encouraged a return to chant as

400-637: The Missa Ad fugam , is entirely canonic and free of borrowed material. The Missa sine nomine , literally "Mass without a name", refers to a mass written on freely composed material. Sometimes these masses were named for other things, such as Palestrina's famous Missa Papae Marcelli , the Mass of Pope Marcellus, and many times they were canonic masses, as in Josquin's Missa sine nomine . Many famous and influential masses were composed by Josquin des Prez ,

450-460: The Church of England . Masses can be a cappella , that is, without an independent accompaniment , or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. The earliest musical settings of the mass are Gregorian chant . The different portions of

500-553: The Congregation for Divine Worship affirmed that priests are always permitted to celebrate mass in Latin outside of scheduled vernacular masses. Catholic groups that identify as Traditionalist continue to make use of older liturgical books that prescribe rituals predominantly in Latin. Paraphrase mass A paraphrase mass is a musical setting of the Ordinary of the Mass that uses as its basis an elaborated version of

550-538: The Latin Church , Latin is the language in which the typical editions of the liturgical books are promulgated. The typical editions are those on which all vernacular translations must be based. Even when the primary language of the mass is Latin, certain invariable parts of the mass are sometimes recited or sung in vernacular, including the Gloria , Credo , Sanctus , Pater Noster , and Agnus Dei . In 2004,

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600-612: The Second Vatican Council , which, after John   XXIII's death, was continued by his successor, Pope Paul VI . The council, while affirming the primacy of Latin, allowed limited use of the vernacular in its 1963 Constitution on the Sacred Liturgy ( Sacrosanctum Concilium ). In 1964, the Sacred Congregation of Rites , in implementation of the constitution, authorized episcopal conferences to prepare liturgical books with vernacular translations of many parts of

650-466: The parody technique). By the 1470s or 1480s, the first masses appear that use paraphrase in more than one voice: two examples survive by Johannes Martini , the Missa domenicalis and the Missa ferialis . By the beginning of the 16th century, it was becoming more common to use the paraphrased tune in all voices of a polyphonic texture. The most famous example from the early 16th century, and one of

700-480: The Alps, using instruments for color and creating dialogues between solo voices and chorus that was to become characteristic of the 18th-century Viennese style. The so-called "Neapolitan" or "cantata" mass style also had much influence on 18th-century mass composition, with its short sections set as self-contained solo arias and choruses in a variety of styles. The 18th-century Viennese mass combines operatic elements from

750-498: The Mass . Many of the famous masses of the Romantic era were Requiems , one of the most famous, A German Requiem by Brahms , being the composer's own selection of biblical texts rather than a setting of a standard liturgy. By the end of the 19th century, composers were combining modern elements with the characteristics of Renaissance polyphony and plainchant, which continued to influence 20th-century composers, possibly fueled by

800-496: The Mass. Beginning in 1970, the liturgical books of the Roman Rite were completely revised. This revision included permission to celebrate all rituals entirely in vernacular languages in accord with approved translations of the authoritative Latin texts. These texts allow for the Mass of Paul VI to be celebrated in Latin. In 1988, Pope John Paul II , in the apostolic letter Ecclesia Dei , permitted bishops to authorize

850-559: 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). 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

900-542: The Ordinary. Stylistically, these settings are similar to both motets and secular music of the time, with a three-voice texture dominated by the highest part. Most of this music was written or assembled at the papal court at Avignon . 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

950-485: The Ten Commandments, 1 to 9 being followed by the words 'Lord have mercy upon us and incline our hearts 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

1000-405: 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. The cantus firmus sometimes appeared simultaneously in other voices, using a variety of contrapuntal techniques. Later in

1050-448: 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. 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

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1100-460: The cantata mass with a trend in the symphony and concerto to organize choral movements. The large scale masses of the first half of the century still have Glorias and Credos divided into many movements, unlike smaller masses for ordinary churches. Many of Mozart's masses are in missa brevis form, as are some of Haydn's early ones. Later masses, especially of Haydn, are of symphonic structure, with long sections divided into fewer movements, organized like

1150-532: The celebration of the pre- conciliar Latin Tridentine Mass for groups that requested it. In 2007, Pope Benedict XVI promulgated the apostolic letter Summorum Pontificum which gave broad permission to use the pre-1970s reform Latin-language liturgical books. In 2021, Pope Francis restricted the scope of these permissions with his apostolic letter Traditionis custodes . In the Roman Rite of

1200-467: The century, composers such as Guillaume Dufay , Johannes Ockeghem , and Jacob Obrecht , used secular tunes for cantus firmi. 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. Other techniques for organizing the cyclic mass evolved by

1250-499: The conservative influence of the Council of Trent , continued to write parody masses on secular songs. Monteverdi composed masses in stile antico , the Missa in illo tempore was published in 1610, one Messa a 4 da cappella in 1641 as part of Selva morale e spirituale along with single movements of the mass in stile concertato , another Messa a 4 da cappella was published after his death, in 1650. Antoine Brumel composed

1300-501: The council's conclusion, Pope Pius V codified and widely mandated the use of revised liturgical books of the Roman Rite that continued the tradition of Latin-only ritual. Latin persisted in use in some Protestant liturgies following the Reformation , which had generally valued the use of vernacular liturgies. The Church of England 's 1549 Book of Common Prayer was translated into Latin for mostly academic purposes but there

1350-629: The earlier Anglican settings. Charles Villiers Stanford composed a Benedictus and Agnus in the key of F major which was published separately to complete his service in C. With reforms in the Anglican liturgy, the movements are now usually sung in the same order that they are in the Roman Catholic rite. Choral settings of the Creed, the most substantial movement, are nowadays rarely performed in Anglican cathedrals. Well known Anglican settings of

1400-465: The earlier Gregorian chants. A further disparity arose between the festive missa solemnis and the missa brevis , a more compact setting. Composers like Johann Joseph Fux in the 18th century continued to cultivate the stile antico mass, which was suitable for use on weekdays and at times when orchestral masses were not practical or appropriate, and in 19th-century Germany the Cecilian movement kept

1450-550: The existing liturgical use of Koine Greek . In the following centuries, Latin increasingly supplanted Greek in Roman liturgies because Latin was a vernacular language understood by the congregation. In the seventh century, there was a short-lived return to Greek liturgy, likely due to immigrants from the East , but Latin was soon reestablished as the Roman liturgical language. Over time, as vernacular languages drifted further from Latin,

1500-474: The mass in its musical incarnation continues to thrive beyond the walls of the church, as is evident in many of the 21st-century masses listed here which were composed for concert performance rather than in service of the Roman Rite. Pope Pius X initiated many regulations reforming the liturgical music of the mass in the early 20th century. He felt that some of the masses composed by the famous post-Renaissance composers were too long and often more appropriate for

1550-404: The mass, 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

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1600-698: The mass, which may be found in the repertoire of many English cathedrals are: Liturgical use of Latin Liturgical use of Latin is the practice of performing Christian liturgy in Ecclesiastical Latin , typically in the liturgical rites of the Latin Church . The use of liturgical Latin in Western Christianity began in North Africa around the late second century under Pope Victor I , who introduced Latin alongside

1650-468: The mass. All voices are given equal weight, and the score achieves a motivic unity which was a significant change from previous practice. Another composer of Josquin's generation who was important in the development of the paraphrase mass was Pierre de La Rue . Like Josquin, he began with the cantus firmus technique, and continued to use it for most of his life; but he began to elaborate the source material, eventually integrating it into multiple voices of

1700-549: The melody usually in the topmost voice. John Dunstable 's Gloria is an example of this procedure, as are the two settings by Guillaume Dufay of the Marian Antiphon Alma redemptoris mater. Many compositions in fauxbourdon , a characteristic technique of the Burgundian School , use a paraphrased version of a plainchant tune in the highest voice. In these cases the source would not be obscured by

1750-480: The most famous paraphrase masses ever composed, was the Missa pange lingua by Josquin des Prez , which is an extended fantasia on the Pange Lingua hymn for Corpus Christi by Thomas Aquinas . This mass was probably composed near the end of Josquin's life, around 1520. In the Missa pange lingua , all voices carry variants of the hymn, with the beginnings of successive phrases marking points of imitation in

1800-665: The motu proprio Tra le sollecitudini (1903) of Pope Pius X . The revival of choral celebration of Holy Communion in the Anglican Church in the late 19th century marked the beginning several liturgical settings of mass texts in English, particularly for choir and organ. The movement for liturgical reform has resulted in revised forms of the mass, making it more functional by using a variety of accessible styles, popular or ethnic, and using new methods such as refrain and response to encourage congregational involvement. Nevertheless,

1850-475: The multiple movements of a mass was canon . 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. Pierre de La Rue wrote four separate canonic masses based on plainchant, and one of Josquin des Prez 's mature masses,

1900-426: The other types of mass composition, including cyclic mass , parody , canon , soggetto cavato , free composition, and mixtures of these techniques. Musical paraphrase, in general, had been used for a long time before it was first applied to the music of the Ordinary of the Mass. It was common in the early and middle 15th century for a work such as a motet to use an embellished plainchant melody as its source, with

1950-422: The paraphrase; it was still easily recognizable through whatever ornamentation was applied. Dufay was probably one of the first to use paraphrase technique in the mass. His Missa Ave regina celorum (written between 1463 and 1474) is similar to a cantus firmus mass in that the tune is in the tenor; however, it is paraphrased by elaboration (and he also includes bits of his own motet on that antiphon, foreshadowing

2000-478: The primary music of the liturgy, as this is explicitly mentioned in the documents of the Second Vatican Council , specifically Sacrosanctum Concilium 116. 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. Sometimes the Kyrie movement takes the form of sung responses to

2050-520: The question of vernacular liturgy for Latin-derived Romance languages remained contentious, Pope Paul V and subsequent pontiffs authorized limited use of the vernacular in mission territories, including in China , Georgia , and modern-day Montreal . In Dalmatia and parts of Istria , the liturgy was celebrated in Church Slavonic in lieu of Latin, and authorization for use of this language

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2100-688: The single most influential composer of the middle 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 Missa Papae Marcelli is sometimes credited with saving polyphony from the censure of the Council of Trent. By

2150-447: The source hymns are often presented in a condensed form. When the Council of Trent prohibited the use of secular songs as sources for masses in 1562, a large corpus of music was no longer available to composers who had been ransacking it for parodies; those composers who followed the Council's dictates often returned to using monophonic hymns and plainsong, sources which suggested the paraphrase technique. Indeed, during this period, it

2200-541: 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. Other composers, such as Orlande de Lassus , working in Munich and comfortably distant from

2250-563: The tradition alive. František Brixi , who worked at the Prague Cathedral , wrote his Missa aulica , a missa brevis in C, for four voices, trumpets, violin and continuo, "cantabile" but solo voices just singing short passages within chorale movements. The Italian style cultivated orchestral masses including soloists, chorus and obbligato instruments. It spread to the German-speaking Catholic countries north of

2300-499: The use of Latin came to be understood in terms of its role as a sacred language . Although Catholic scholars had discussed a shift to vernacular languages beforehand, the 16th-century Protestant Reformation championed the cause of vernacular liturgy and linked it to anti-Catholic sentiments. In response, the Catholic Church's Council of Trent , while not condemning vernacular liturgy in principle, discouraged its indiscriminate use and defended Latin's suitability for worship. After

2350-477: The use of the basso continuo and the gradual adoption of a wider harmonic vocabulary, and the mass in modern style with solo voices and instrumental obbligatos . The Lutheran Michael Praetorius composed a mass for double choir in the old style, which he published in 1611 in the collection of church music for the mass in Latin, Missodia Sionia . Composers such as Henri Dumont (1610–1684) continued to compose plainsong settings, distinct from and more elaborate than

2400-535: 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. The non-changing part of the mass, the Ordinary, then would have music which was available for performance all the time. Two manuscripts from the 14th century, the Ivrea Codex and the Apt Codex , are the primary sources for polyphonic settings of

2450-425: Was extended to some other Slavic regions between 1886 and 1935. Pope John XXIII was a strong proponent of the value of Latin for the liturgy and the entire church. In 1962, he released an encyclical entitled Veterum Sapientia in which he praised Latin for its impartiality, universality, immutability, formative value, historicity, and dignity as an elevated, non-vernacular language. Later that year, he opened

2500-551: Was some liturgical usage of that translation among Irish priests who knew only Gaelic and Latin. The practice of translating Anglican liturgy into Latin translations continued with the 1662 prayer book , as well as the 1979 Book of Common Prayer of the Episcopal Church in the United States . Calls for vernacular liturgy were a hallmark of the condemned Jansenist movement of the 17th century. Although

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