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What is choral music?
What is sacred music?
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- Overview
- The mass
The ordinary of the mass (consisting of the Kyrie, Gloria, Credo, Sanctus and Benedictus, Agnus Dei, and in some medieval masses also the “Ite, missa est”) has been a focal point of choral music for more than 600 years. The earliest masses, such as the four-part setting by the 14th-century French composer Guillaume de Machaut, were intended for soloists; remarkable both in musical texture and structure, they are often performed chorally today. In the 15th century this tradition, in which architectonic considerations still held sway, was carried on in the masses of the English composer John Dunstable and his Burgundian contemporary, Guillaume Dufay. The use of a plainchant cantus firmus, or dominating tenor theme, knit together the movements even though they were separated during the liturgy. Modern concert performances and recordings obscure this feature, sometimes to the disadvantage of even the greatest masterpieces, which, with all movements in immediate sequence may sound too concentrated. The Renaissance saw the highest development of the cantus firmus mass, using as the central melodic support not only plainchant but even secular songs, as Josquin’s L’Homme armé (printed in 1502) or folk songs, as John Taverner’s mass, The Western Wynde (c. 1520).
Hundreds of composers wrote settings of the ordinary of the mass at this time; some, like the Italian composer Giovanni da Palestrina, wrote more than 100 masses. The Spaniards Cristóbal de Morales and Tomás Luis de Victoria and the Englishmen William Byrd and Thomas Tallis all avoided secular melodies, even though these would have been largely obscured by the texture of the voices. On the other hand, the Netherlanders Orlando di Lasso and Philippe de Monte did not hesitate to draw upon themes of diverse origins. Byrd and his Flemish contemporary Heinrich Isaac also set a considerable amount of the proper of the mass (that part of the liturgy liable to change according to the feast), but such settings remained comparatively rare.
The parody mass found many advocates, since it was possible by this means to base a long work on all voice parts of a shorter one, such as a motet or a hymn, and by beginning with familiar and recognizable material, to progress gradually into inventive independence. This particular technique may have owed as much to convenience as to a desire to pay homage to another composer.
The 16th- and 17th-century Venetian school, especially Giovanni Gabrieli and Claudio Monteverdi, added an instrumental element to the basically choral foundation of the mass. They also occasionally employed two or more choirs to create massive antiphonal effects. Further development of the orchestral mass occurred in the 17th century in the works of the Italian composers Francesco Cavalli and Alessandro Scarlatti and the French composer Marc-Antoine Charpentier, while the polychoral element was brought to a colossal and almost unmanageable pitch by Orazio Benevoli in his mass for the dedication of the Salzburg cathedral (1628) in 53 parts.
In the 18th century, Haydn’s early masses, notably the Missa Sanctae Caeciliae, lean toward Italian models. His choral writing is robust and sonorous, even though four-part writing is the norm. His later masses emphasize soloists and orchestra but without diminishing the interest of the choral writing. Mozart’s early masses tend to be brief (because of the taste and dictates of his archbishop patron), yet the fugal choruses sometimes dispel this impression by their very excellence, as in the Mass in C Major, K. 317 (1779; Coronation Mass). The unfinished Mass in C Minor, K. 427, abounds in magnificent choral music.
Remote in style and function from the Classical Viennese works, J.S. Bach’s Mass in B Minor (1733–38) was a monument of the preceding Baroque era. It was never intended to be performed as a whole within the liturgy, and its various movements date from different periods of Bach’s life. Five-part choral writing is most in evidence, the two soprano lines adding brilliance and edge to a richly contrapuntal (interwoven melody) texture. In the “Sanctus,” Bach branches into six-part polyphony, and in the “Osanna” he calls for an eight-voice double choir apt for antiphonal writing.
The ordinary of the mass (consisting of the Kyrie, Gloria, Credo, Sanctus and Benedictus, Agnus Dei, and in some medieval masses also the “Ite, missa est”) has been a focal point of choral music for more than 600 years. The earliest masses, such as the four-part setting by the 14th-century French composer Guillaume de Machaut, were intended for soloists; remarkable both in musical texture and structure, they are often performed chorally today. In the 15th century this tradition, in which architectonic considerations still held sway, was carried on in the masses of the English composer John Dunstable and his Burgundian contemporary, Guillaume Dufay. The use of a plainchant cantus firmus, or dominating tenor theme, knit together the movements even though they were separated during the liturgy. Modern concert performances and recordings obscure this feature, sometimes to the disadvantage of even the greatest masterpieces, which, with all movements in immediate sequence may sound too concentrated. The Renaissance saw the highest development of the cantus firmus mass, using as the central melodic support not only plainchant but even secular songs, as Josquin’s L’Homme armé (printed in 1502) or folk songs, as John Taverner’s mass, The Western Wynde (c. 1520).
Hundreds of composers wrote settings of the ordinary of the mass at this time; some, like the Italian composer Giovanni da Palestrina, wrote more than 100 masses. The Spaniards Cristóbal de Morales and Tomás Luis de Victoria and the Englishmen William Byrd and Thomas Tallis all avoided secular melodies, even though these would have been largely obscured by the texture of the voices. On the other hand, the Netherlanders Orlando di Lasso and Philippe de Monte did not hesitate to draw upon themes of diverse origins. Byrd and his Flemish contemporary Heinrich Isaac also set a considerable amount of the proper of the mass (that part of the liturgy liable to change according to the feast), but such settings remained comparatively rare.
The parody mass found many advocates, since it was possible by this means to base a long work on all voice parts of a shorter one, such as a motet or a hymn, and by beginning with familiar and recognizable material, to progress gradually into inventive independence. This particular technique may have owed as much to convenience as to a desire to pay homage to another composer.
The 16th- and 17th-century Venetian school, especially Giovanni Gabrieli and Claudio Monteverdi, added an instrumental element to the basically choral foundation of the mass. They also occasionally employed two or more choirs to create massive antiphonal effects. Further development of the orchestral mass occurred in the 17th century in the works of the Italian composers Francesco Cavalli and Alessandro Scarlatti and the French composer Marc-Antoine Charpentier, while the polychoral element was brought to a colossal and almost unmanageable pitch by Orazio Benevoli in his mass for the dedication of the Salzburg cathedral (1628) in 53 parts.
In the 18th century, Haydn’s early masses, notably the Missa Sanctae Caeciliae, lean toward Italian models. His choral writing is robust and sonorous, even though four-part writing is the norm. His later masses emphasize soloists and orchestra but without diminishing the interest of the choral writing. Mozart’s early masses tend to be brief (because of the taste and dictates of his archbishop patron), yet the fugal choruses sometimes dispel this impression by their very excellence, as in the Mass in C Major, K. 317 (1779; Coronation Mass). The unfinished Mass in C Minor, K. 427, abounds in magnificent choral music.
Remote in style and function from the Classical Viennese works, J.S. Bach’s Mass in B Minor (1733–38) was a monument of the preceding Baroque era. It was never intended to be performed as a whole within the liturgy, and its various movements date from different periods of Bach’s life. Five-part choral writing is most in evidence, the two soprano lines adding brilliance and edge to a richly contrapuntal (interwoven melody) texture. In the “Sanctus,” Bach branches into six-part polyphony, and in the “Osanna” he calls for an eight-voice double choir apt for antiphonal writing.
Choral music, music sung by a choir with two or more voices assigned to each part. Choral music is necessarily polyphonal—i.e., consisting of two or more autonomous vocal lines. It has a long history in European church music.
Religious music (also sacred music) is a type of music that is performed or composed for religious use or through religious influence. It may overlap with ritual music, which is music, sacred or not, performed or composed for or as ritual .
Sacred Harp, a type of folk music, is an a cappella style of religious singing with shape notes, usually sung at singing conventions. Opponents of musical instruments in the Christian worship believe that such opposition is supported by the Christian scriptures and Church history.
Mar 30, 2022 · These days, choral music continues to evolve, and we see in pieces like The Armed Man the blending of sacred and secular choral music. What Is Choral Music? Final Thoughts. So, what is choral music? Religious or not, the common denominator is the number of voices that participate in choral music.
Music has been classified as one of the arts of the medieval quadrivium, along with arithmetic, geometry, and astronomy. The Catholic Church has named it “The Greatest of the Sacred Arts” because of its ability, even more than visual art, to evoke transcendence. In this way, the very definition of music is not unlike the description of Sacred.
