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1968

An Original Composition for Chorus Missa BrevisRobert Austin BarbeyCentral Washington University

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AN ORIGINAL COMPOSITION FOR CHORUS

MISSA BREVIS

A Thesis

Presented to

the Graduate Faculty

Central Washington State College

In Partial Fulfillment

of the Requirements for the Degree

Master of Arts

by

Robert Austin Barbey

July, 1968

NOi 1:33110:> l\!!J3dS

() 5<t"-t,9 £ .. tL..L..g

O:'I

APPROVED FOR THE GRADUATE FACULTY

________________________________ Robert M. Panerio, COMMITTEE CHAIRMAN _________________________________ Joseph S. Haruda _________________________________ John DeMerchant

DEDICATION

The wr±ter wishes to dedicate the composition Missa

Brevis to the Reverend Ivan Edward Merrick of Trinity Epis­

copal Church, Everett, Washington.

TABLE OF CONTENTS

CHAPTER

I. THE PROBLEM AND DEFINITIONS OF TERMS USED . • •

II.

The Problem •

Statement of the problem

Importance of the study •

Limitations of the study

Definitions of Terms Used .

Mass

Cyclic

Lydian mode • • • • • • • • •

REVIEW OF THE LITERATURE • •

. . . .

. . . . . . . . . III. ANALYSIS OF THE COMPOSITION . . . . . . . . . .

IV.

Kyrie Eleison •

Gloria

Credo •

Sanctus et Benedictus •

Agnus Dei •

SUMMARY • • • • •

. . . . . . . . . . . . .

BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • •

APPENDIX. Missa Brevis, An Original Composition for

Choir . . . . . . . . . . . . . . . . .

PAGE

1

1

1

2

2

2

2

3

3

4

6

7

8

10

12

13

15

16

19

CHAPTER I

THE PROBLEM AND DEFINITIONS OF TERMS USED

The setting of music to the Ordinary of the Mass has

intrigued many composers throughout history. Its dramatic con­

tent is stimulating; its form is one which readily accepts a

musical mold.

One would assume that, with such a bountiful selection

of Mass settings, more of them would be in use today. Unfor­

tunately most of the literature of the Mass is not suitable

for day-to-day use in the church. Those that are performed

suffer from over-use and a generally obsolete style that pre­

cludes personal involvement on the part of the choir singer

or congregation.

I. THE PROBLEM

Statement of the problem. In the composition of this

Mass the composer was faced with several alternatives in the

selection of a suitable musical style. These choices were

narrowed to include (1) "traditional" or "romantic"; (2) "pop";

or "jazz"; (3) "folk-mass"; or (4) avant garde. The ultimate

choice was a synthesis, consisting of devices from fourteenth

century music, and elements of contemporary style.

An additional problem was encountered in considering

the technical limitations of an amateur choir. The music

should be mastered in a minimum of rehearsal time, but its

content should not be without challenge.

Importance of the study. In a church service that

follows a prescribed procedure an element of staleness can

intrude unless the routine is counterbalanced with fresh

material. The Mass presented here supplies an intriguing

alternative in the selection of new music for the worship

service.

Limitations of the study. The Mass offered here em­

ploys a compositional device first used by the French com­

poser Guillaume de Machaut. The technique has been termed

a "cyclic" Mass, and will be explained further in the

2

chapter on analysis of the composition. This composer deemed

it impractical to overburden the composition with various

other techniques solely for the sake of their employment.

The use of the "cyclic" device constitutes a concession to

the practical aspects of a medieval method of compositional

unification. It would, however, be impossible not to employ

other general devices of musical composition, but since the

"cyclic" technique was originally applied to the Mass, it

is the raison d'etre for the Missa Brevis presented here.

II. DEFINITIONS OF TERMS USED

Mass. A musical setting of the Ordinary of the Mass,

the liturgical sections of which have been declared invariable.

3

They are: the Kyrie Eleison, Gloria, Credo, Sanctus et Bene­

dictus, and the Agnus Dei.

"Cyclic". "An adjective which implies some unity between

the various sections or movements of an extended work, more par­

ticularly the unity which arises from thematic connection of

some kind." (6:173)

Lydian mode. A name derived from the Greek musical

system. A set of musical tones containing a fixed intervallic

relationship. The lydian mode is illustrated by playing a

scale from F to F on the piano while using only white keys.

Other technical terms are dealt with in the chapter on

analysis of the composition.

CHAPTER II

REVIEW OF THE LITERATURE

From the eleventh to the thirteenth centuries Masses

were based on the melodies of Gregorian Chant or plainsong.

As the art of polyphony developed, the old plainsong chants

were used as cantus fermi, or "fixed songs" upon which a

polyphonic texture was superimposed.

Until the early fifteenth century little attempt was

made at unification of the various sections of the Mass.

Services usually consisted of selections gleaned from varied

sources with little thought given to homogeniety.

Salient among the exceptions to this practice was the

Messe Notre-Dame composed by Guillaume de Machaut (1300-

1377) who incorporated in his work a certain unifying device

which has been employed in the Mass presented here. This

device, known as the "cyclic" technique, is extremely signi-

ficant in the study of music of the Renaissance. As Bukofzer

indicates:

Since the early days of musical research Mass cycles of the fifteenth century have attracted special attention of scholars and musicians alike for reasons that are still valid today. The cyclic Mass holds a central place in the music of the period because it embodies the most represen­tative and extended form of Renaissance music •. - • It is no exaggeration to assert that the cycle of the Ordinary of the Mass was the focal point on which all artistic aspirations and technical achievements of the composer converged. It held as dominating and prominent a place

5

in the hierarchy of musical values as the symphony did in the eighteenth and nineteenth centuries (2:217).

Up until the Mass cycle the liturgical point of view had demi-

nated, declaring that since these sections were not sung con-

secutively there was no need for unification. The intersper-

sion of prayers and chants precluded any continuity for the

musical portions of the service. This view held until chal­

lenged by the composers of the Renaissance.

It takes a very bold and independent mind to conceive the idea that the invariable parts of the Mass should be composed not as separate liturgical items, but as a set of five musically coherent compositions. In the latter case the means of unification are provided by the compo­ser, not the liturgy. This idea, which is the historical premise of the cyclic Ordinary, betrays the weakening of the purely liturgical consideration and the strengthen­ing of essentially aesthetic concepts. The "absolute'' work of art begins to encroach on liturgical function. (2:218).

CHAPTER III

ANALYSIS OF THE COMPOSITION

The composition achieves unity between the sections

through utilization of the fifteenth century device employed

in the so-called ''cyclic" Masses. This technique consisted

of the introduction of resemblant thematic material of a

motival nature at the beginning of each of the sections of

the Mass. Notable among its users was the French composer

of the Ars Nova School, Guillaume de Machaut, who introduced

the sections of his Messe Notre-Dame in this manner. Accord-

ing to Machabey, the device

• • • may be regarded as the generating cell of this vast composition: not only does one encounter it in each of the sections, but in addition it gives rise to imitations, to fugal entries, to repetitions, to counter melodies in long time values (Kyrie), well proving that Machaut made of it the basic material of his Messe Notre-Dame (4:356).

The motive employed in this Mass consists of this in-

tervallic relationship:

Example 1.

D 0

In the opening section (Kyrie), the lower interval of

a perfect fourth has the scale relationship of I to V:

Example 2.

j J j Lord have mer-cy up- on us.

In the Agnus Dei, the same perfect fourth becomes a I

to IV interval:

Example 3.

r I r ... ~ Oh Lamb of God

Other examples of the motive are cited as they appear

in the complete analysis.

I. KYRIE ELEISON

7

The Kyrie begins in the lydian mode with a fragment of

the motive (see Example 2) and continues in soprano and alto

unison in a syncopated rhythm. Tenor and bass join the unison

in octaves at measure three. The opening melody is heard now

in the tenor and bass while sopranos and altos provide poly-

phonic support in a style not unlike the early hocket:

8

Example 4.

mer-cy

have

The melody is then passed to the altos in EP, then to

the tenors in B~. The contrapuntal activity now yields to a

rhythmic chordal figure which is repeated until a quasi-stretto

effect brings the section to a close with a unison on ~, with

enharmonic embellishment in the accompaniment (measure sixteen) •

II. GLORIA

The Gloria section begins with an introduction in fan­

fare style with increasing effects achieved by a pyramidal

chord of perfect fifths beginning with a rhythmic motive

(measure one and following) and continuing up through the

chorus. The bass provides a pedal tone on C while the other

parts enter canonically to establish a C minor seventh chord

which is reiterated on the rhythmic motive (measures seven

and eight) :

Example 5.

Glo-ri-a,glo-ri-a, glo-ri-a,

9

In measure nine the mood abruptly subsides to the words:

"and on earth", but the accompaniment persists softly with the

opening motive. The main theme begins with elements of the

germ motive:

Example 6.

The section proceeds, following a chordal sequence to

the first cadence where the rhythmic motive is again heard in

the accompaniment. At the words "and on earth peace, good

will" the melodic line is treated in reverse order to that of

the original statement of this phrase:

Example 7.

and on earth •••

- --- ------

lk:!J .u ft w r ~ and on earth peace good will.

The final s.tatement of the theme is heard one fourth

higher and is treated in augmentation:

10

Example 8.

!YI P1 r r ~r r tlr r ,, Glo-ry to God on high, and •.•

The closing measures proceed stepwise to an F major

chord sung fortissimo.

III. CREDO

The Credo section is a departure in style. The narrative

character of the text lends itself to treatment in a hybrid

manner, suggesting a blend of plainsong, organum, and the

style of the Anglican Canticle. There are no measure lines,

the meter being dictated mainly by the agogical accents of the

text. The singer is advised to orient himself to the eighth

note as the basic metric unit. No key signature is given since

there is a constant fluctuation of tonal center.

The opening statement is a direct quotation of the

germ motive:

Example 9.

P r J ......... I be-lieve in one God •••

11

The early madrigal practice of word-painting is carried

on to an extent in this section. The following examples are

used as illustrations:

Example 10. - - - tsii--------~-------

~ • J J J J came down from heav'n

Example 11.

J J < and the third day He rose a-gain

The next example contains both word-painting and germ

motive:

Example 12.

.., s . He a-sce.n-ded in-to he..a..v'n

In the text beginning "and He shall come with glory"

(letter L), a canonic figure is heard in the soprano, then in

the bass:

Example 13.

glo-ry •••

12

The alto repeats the strain in another key, and toward the end

of the segment the tenor enters with a fragment of the theme

to conclude tie period.

In the final segment (letter M) beginning with the "and

I believe in the Holy Ghost" the choir is instructed to sing

in "Canticle style", with complete emphasis on the word accent

and rhythm as used in normal speech:

Example 14.

---

"rm , ... . ....

and I believe in the Holy Ghost •••

This style is continued, except for rhythmically notated ca-

dences, throughout the remainder of the section.

IV. SANCTUS ET BENEDICTUS

The section opens with a statement of the motive in

the soprano line with other parts providing harmony in block

chords.

Since it is the practice of some churches to omit the

Benedictus, an option is offered: the choir may take the

first ending without Benedictus, or take the second ending,

continuing through the entire section.

13

The Benedictus contains a canonic figure directly quoted

from the Credo:

Example 15.

f?Js -----------

r r J J ...,.

"" e Ho- san-na in the high est • . .

At measure sixteen the motive is again heard in triplet

rhythm:

Example 16.

tVf4J - ~ J r r I J :::i. ,.. '

Bless-eci is He i;hat. co:m-eth,

The section closes with a broad sweep upward in which

tenors and sopranos are divisi:

Example 17.

V. AGNUS DEI

The opening measures of the Agnus Dei contain the first

three notes of the germ motive, but in a new context. The

scale relationship now exists as: I to IV to V:

14

Example 18.

Oh Lamb of God •••

The music is flowing, but with a syncopated pulse that

suggests the influence of the negro spiritual. The section

is written in G minor with the melody given to the sopranos.

The support consists of descending harmonies filled with

suspensions.

The middle segment contains a downward sequence of

broken chords in a syncopated rhythm that shifts the accent

to succeeding words with each repetition:

Example 19.

-- ---------

••• ®J J r ·s. Oh Lamb of God, oh Lamb of God ..•

Following this section a recapitulation of the initial

theme occurs with the addition of a soprano descant consisting

of the alto part one octave higher. The intended mood here

is one of remorse and repentance.

CHAPTER IV

SUMMARY

The history of the Mass reflects the attitudes, skills,

tastes, and styles of the composers who have written in this

form. Although the precepts of the church remain basically

sound, the peripheral attitudes, tastes, and needs of the

people undergo constant change as do all vital components of

the community.

If communication between the church and its people is

to remain intact it must be carried on in a mutually-acceptable

medium.

The contemporary composer of sacred music has an obli­

gation to keep the basic intent of his work in harmony with

that of the traditions of worship, but he must allow for

ephemeral changes that shape the fringe of man's daily exis­

tence. He must satisfy the demands of the past while practi­

cing a contemporary art. The composition presented here has

endeavored to accomplish this end.

BIBLIOGRAPHY

BIBLIOGRAPHY

1. Blom, Eric, editor. Grove's Dictionary of Music and Musicians. New York: St. Martin's Press, 1954. V:617-620.

2. Bukofzer, Manfred. Studies in Medieval and Renaissance Music. New York: w. w. Norton and Company, Inc., 1950. 324 pp.

3. Lang, Paul Henry. Music in Western Civilization. New York: w. w. Norton and Company, Inc., 1941. 1107 pp.

4. Reese, Gustave. Music in the Middle Ages. New York: W. w. Norton and Company-;-Inc., l94~502 pp.

5. Scholes, Percy, editor. The Oxford Companion to Music. New York: Oxford University Press, 1955. pp-.-610-612.

6. Westrup and Harrison. The New College Encyclopedia of Music. New York: w. W:-Norton and Company, Inc., 1960. 739 pp.

7. Wienandt, Elwyn. Choral Music of the Church. New York: The Free Press, 1965. 494 pp-.-

APPENDIX

MISSA BREVIS

AN

ORIGINAL COMPOSITION

FOR CHOIR

COMPOSED BY

ROBERT AUSTIN BARBEY

I. KYRIE-ELEISON

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