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| In a Christian RITE, the schedule of days commemorating special events, individuals, or times of year. |
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| from Latin missa, 'dismissed') (1) The most important service in the Roman church. (2) A musical work setting the texts of the ORDINARY of the Mass, typically KYRIE, GLORIA, CREDO, SANCTUS, and AGNUS DEI. In this book, as in common usage, the church service is capitalized (the Mass), but a musical setting of the Mass Ordinary is not (a mass). |
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| (from Latin proprium, 'particular' or 'appropriate') Texts of the MASS that are assigned to a particular day in the CHURCH CALENDAR. |
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| (from Latin ordinarium, 'usual') Texts of the MASS that remain the same on most or all days of the CHURCH CALENDAR, although the tunes may change. |
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| (from Latin introitus, 'entrance') First item in the MASS PROPER, originally sung for the entrance procession, comprising an ANTIPHON, PSALM verse, Lesser DOXOLOGY, and reprise of the ANTIPHON. |
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| (Greek, "Lord") One of the five major musical items in the MASS ORDINARY, based on a BYZANTINE litany. |
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| (Latin, 'Glory') Second of the five major musical items in the MASS ORDINARY, a praise formula also known as the Greater DOXOLOGY. |
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Definition
| (from Latin gradus, 'stairstep') Item in the MASS PROPER, sung after the Epistle reading, comprising a RESPOND and VERSE. CHANT graduals are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR. |
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| Item from the MASS PROPER, sung just before the Gospel reading, comprising a RESPOND to the text 'Alleluia,' a verse, and a repetition of the respond. CHANT alleluias are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR. |
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| (Latin, 'I believe') Third of the five major musical items in the MASS ORDINARY, a creed or statement of faith. |
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| (from Latin tractus, 'drawn out') Item in the MASS PROPER that replaces the ALLELUIA on certain days in Lent, comprising a series of PSALM VERSES. |
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| (from Latin sequentia, 'something that follows') (1) A category of Latin CHANT that follows the ALLELUIA in some MASSES. (2) Restatement of a pattern, either MELODIC or HARMONIC, on successive or different pitch levels. |
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| Item in the MASS PROPER, sung while the COMMUNION is prepared, comprising a RESPOND without VERSES. |
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| (Latin, 'Holy') One of the five major musical items in the MASS ORDINARY, based in part on Isaiah 6:3. |
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| (Latin, 'Lamb of God') Fifth of the five major musical items in the MASS ORDINARY, based on a litany. |
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Term
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Definition
| Item in the MASS PROPER, originally sung during communion, comprising an ANTIPHON without verses. |
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| (from Latin officium, 'obligation' or "ceremony") A series of eight prayer services of the Roman church, celebrated daily at specified times, especially in monasteries and convents; also, any one of those services. |
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Definition
| (1) A LITURGICAL CHANT that precedes and follows a PSALM or CANTICLE in the OFFICE. (2) In the MASS, a chant originally associated with ANTIPHONAL PSALMODY; specifically, the COMMUNION and the first and final portion of the INTROIT. |
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| RESPONSORIAL CHANT used in the OFFICE. Matins includes nine Great Responsories, and several other Office services include a Short Responsory. |
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| HYMN-like or PSALM-like passage from a part of the Bible other than the Book of Psalms. |
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| Pertaining to a manner of performing CHANT in which a soloist alternates with a group. |
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| Adjective describing a manner of performance in which two or more groups alternate. |
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| Pertaining to a manner of performing CHANT without alternation between groups (see ANTIPHONAL) or between soloist and group (see RESPONSORIAL). |
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| Having (or tending to have) one NOTE sung to each syllable of text. |
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Term
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| In CHANT, having about one to six NOTES (or one NEUME) sung to each syllable of text. |
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| Of a MELODY, having many MELISMAS. |
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| In CHANT, a simple outline MELODY used for a variety of texts. |
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| A MELODIC formula for singing PSALMS in the OFFICE. There is one psalm tone for each MODE. |
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Definition
| The first NOTES of a CHANT, sung by a soloist to establish the pitch for the CHOIR, which joins the soloist to continue the chant. |
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| In a PSALM TONE, the CADENCE that marks the middle of the PSALM verse. |
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Definition
| In a PSALM TONE, the CADENCE that marks the end of the PSALM VERSE. |
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Definition
| A formula of praise to the Trinity. Two FORMS are used in GREGORIAN CHANT: the Greater Doxology, or GLORIA, and the Lesser Doxology, used with PSALMS, INTROITS, and other chants. |
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Term
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Definition
| In Jewish synagogue music, the main solo singer. In the medieval Christian church, the leader of the CHOIR. |
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Definition
| Of a poem, consisting of two or more stanzas that are equivalent in form and can each be sung to the same MELODY; of a vocal work, consisting of a strophic poem set to the same music for each stanza. |
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| The first part of a RESPONSORIAL CHANT, appearing before and sometimes repeated after the PSALM verse. |
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| (Latin) In CHANT, an effusive MELISMA, particularly the melisma on "-ia" in an ALLELUIA. |
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Term
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Definition
| A group of related works, comprising MOVEMENTS of a single larger entity. Examples include cycles of CHANTS for the MASS ORDINARY, consisting of one setting each of the KYRIE, GLORIA, SANCTUS, and AGNUS DEI (and sometimes also Ite, missa est); the POLYPHONIC MASS cycle of the fifteenth through seventeenth centuries; and the SONG CYCLE of the nineteenth century. |
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| Addition to an existing CHANT, consisting of (1) words and MELODY; (2) a MELISMA; or (3) words only, set to an existing melisma or other melody. |
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| Dialogue on a sacred subject, set to music and usually performed with action, and linked to the LITURGY. |
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