Mass (liturgy)

A missa tota ("full Mass") consists of a musical setting of the five sections of the ordinarium as listed below.

In the Tridentine Mass, the Kyrie is the first sung prayer of the Mass ordinary. It is usually (but not always) part of any musical setting of the Mass. Kyrie movements often have a ternary (ABA) musical structure that reflects the symmetrical structure of the text. Musical settings exist in styles ranging from Gregorian chant to Folk.

Of 226 catalogued Gregorian chant melodies, 30 appear in the Liber Usualis. In what are presumed to be the oldest versions, the same melody is repeated for the first eight iterations, and a variation used on the final line (that is, formally, AAA AAA AAA'). These repeats are notated by the Roman numerals "IIJ" (for three times) or "IJ" (for twice). The Kyrie for the Requiem Mass in the Liber Usualis has this form. Later Kyries have more elaborate patterns, such as AAABBBAAA', AAABBBCCC', or ABACDCEFE'. The final line is nearly always modified somewhat; in some cases this may be because it leads into the Gloria better. In forms both with and without literal repeats, most Kyries in the Liber Usualis have a closing phrase used in nearly all of the lines of the text. This in fact parallels the text, as each line ends with the same word "eleison".

Because of the brevity of the text, Kyries were often very melismatic. This encouraged later composers to make tropes out of them, either by adding words to the melisma (as how a sequence is often considered), or extending the melisma. In fact, because of the late date of most Kyries, it is not always clear whether a particular Kyrie melody or the apparently troped text came first; it could just as easily be the case that a syllabic song was converted into a melisma for a Kyrie verse. In some cases, verses interpolate Latin text between each "Kyrie" (or "Christe") and "eleison".

As the Kyrie is the first item in settings of the Mass ordinary and the second in the requiem Mass (the only Mass proper set regularly over the centuries), nearly all of the thousands of composers over the centuries who have set the ordinaries of the Mass to music have included a Kyrie movement.

Kyrie movements often have a structure that reflects the concision and symmetry of the text. Many have a ternary (ABA) form known as a three-fold kyrie, where the two appearances of the phrase "Kýrie eléison" consist of identical or closely related material and frame a contrasting "Christe eleison" section. The AAABBBCCC' form is also commonly used which is known as a nine-fold kyrie. Famously, Mozart sets the "Kýrie" and "Christe" texts in his Requiem Mass as the two subjects of a double fugue.

The Gloria is a celebratory passage praising God the Father and Christ.

In Mass settings (normally in English) composed for the Church of England's Book of Common Prayer liturgy, the Gloria is commonly the last movement, because it occurs in this position in the text of the service. In Order One of the newer Common Worship liturgy, however, it is restored to its earlier place in the service.

The Credo, a setting of the Nicene Creed, is the longest text of a sung Mass.

Organizers of international celebrations, such as World Youth Day, have been encouraged by Rome to familiarize congregants in the Latin chants for the Our Father and the Credo, specifically Credo III (17th century, Fifth Mode) from the Missa de Angelis. The purpose of singing these two texts in Latin is to engender a sense of unity in the faithful, all of whom thus sing the prayer of Jesus and the shared belief of the universal Church in the same language.

The Sanctus is a doxology praising the Trinity. A variant exists in Lutheran settings of the Sanctus. While most hymnal settings keep the second person pronoun, other settings change the second person pronoun to the third person. This is most notable in J.S. Bach's Mass in B minor, where the text reads gloria ejus ("His glory"). Martin Luther's chorale Isaiah, Mighty in Days of Old, and Felix Mendelssohn's setting of the Heilig! (Latin: Sanctus) from his Deutsche Liturgie also use the third person.

The Benedictus is a continuation of the Sanctus. "Hosanna in excelsis" is repeated after the Benedictus section, often with musical material identical to that used after the Sanctus, or very closely related.

In Gregorian chant the Sanctus (with Benedictus) was sung whole at its place in the Mass. However, as composers produced more embellished settings of the Sanctus text, the music often would go on so long that it would run into the consecration of the bread and wine. This was considered the most important part of the Mass, so composers began to stop the Sanctus halfway through to allow this to happen, and then continue it after the consecration is finished. This practice was forbidden for a period in the 20th century.

The Agnus Dei is a setting of the "Lamb of God" litany, containing the responses "miserere nobis" ('have mercy upon us'), repeated twice, and "dona nobis pacem" ('grant us peace') once at the end.

In a Requiem Mass, the words "miserere nobis" are replaced by "dona eis requiem" ('grant them rest'), while "dona nobis pacem" is replaced by "dona eis requiem sempiternam" ('grant them eternal rest').

There is some additional terminology regarding Mass settings indicating whether or not they include all five usual sections of the ordinarium, and whether or not the Mass is intended for exceptionally festive occasions.

Missa brevis (literally "short Mass") may, depending on time and conventions, indicate the setting of a subset of the five ordinary Mass parts (e.g. Masses containing only a setting of the Kyrie and the Gloria), or a Mass containing all these parts, but relatively short in duration, or a Mass in a setting that is less extended in vocal and orchestral forces than that of a Neapolitan Mass.

Missa longa ("long Mass") can indicate the counterpart of missa brevis when the aspect of duration is considered.

Missa solemnis indicates a solemn Mass, usually for special festive occasions and with an extended vocal and orchestral setting. In this sense, missa brevis is sometimes used to indicate the counterpart of a missa solemnis.

The missa brevis et solemnis ("short and solemn Mass") is an exceptional format, for its best known instances tied to the Salzburg of archbishop Hieronymus Colloredo, although earlier examples are extant. Mozart described it thus in a letter he wrote in 1776 ("the Archbishop" in this quotation refers to Colloredo):[14][15]

Our church music is very different from that of Italy, since a Mass with the whole Kyrie, the Gloria, the Credo, the Epistle sonata, the Offertory or motet, the Sanctus and the Agnus Dei must not last longer than three quarters of an hour. This applies even to the most Solemn Mass spoken by the Archbishop himself. Special study is required for this kind of composition, particularly as the Mass must have a full contingent of instruments—trumpets, drums and so forth.

The "brevis et solemnis" description applies to several of the Masses Mozart composed in Salzburg between 1775 and 1780, the Sparrow Mass being considered as its first instance for this composer.[14][15]

Tongue-in-cheek, and not indebted to Viennese traditions, Gioachino Rossini qualified one of his last compositions, a Mass, as both petite ("small") and solennelle ("solemn") (Petite messe solennelle). In this case, "small" refers to the modest forces needed for its performance, and "solemn" to its duration, although later commentators would describe the composition as "neither small nor solemn".[16]

During Lent (Quadragesima) and Advent (Adventus) the Gloria is not sung. Thus Missa (in) tempore (Adventus et) Quadragesimae, "Mass for the period of (Advent and) Lent" indicates a Mass composition without music for the Gloria. Michael Haydn composed a Mass suitable for Lent and Advent, the Missa tempore Quadragesimae, in D minor for the modest forces of choir and organ.

Messa senza credo ("Mass without a Credo") indicates a musical setting of the usual parts of the Mass ordinary with exception of the Credo.

A missa ferialis (weekday Mass) leaves out both the Gloria and the Credo.

The sixth and last part of the Ordinarium (either Ite, missa est, or, in Masses without Gloria, Benedicamus Domino) is usually not set as part of a Mass composition. In a Tridentine Mass that part of the Ordinarium is usually spoken, or sung to the Gregorian melody provided in the Roman Missal, although early polyphonic settings for the "Deo gratias" response (e.g. in Guillaume de Machaut's Messe de Nostre Dame) and for the Benedicamus Domino (e.g. in Magnus Liber Organi) are extant.

The Proper of the Mass is usually not set to music in a Mass itself, except in the case of a Requiem Mass, but may be the subject of motets or other musical compositions. Some Mass compositions, like for instance Rossini's Petite messe solennelle, do however contain parts outside the Ordinarium. Some Mass compositions even consist entirely of such additions: Schubert's Deutsche Messe, a set of eight hymns with epilogue,[17] is an example of such a Mass.

Purely instrumental compositions can also be part of a Mass celebration, e.g. a Sonata da chiesa, sometimes with a liturgical function, like Mozart's Epistle Sonatas.

In a liturgical Mass, there are other sections that may be sung, often in Gregorian chant. These sections, the "Proper" of the Mass, change with the day and season according to the Church calendar, or according to the special circumstances of the Mass. The sections of the Proper of the Mass include the Introit, Gradual, Alleluia or Tract (depending on the time of year), Offertory and Communion.

Ordinarium and proprium sections of a specific liturgical Mass are not typically set to music together in the same composition. The one major exception to this rule is the Mass for the dead, or requiem.

Following the distribution of the Sacrament, it is customary in most Lutheran churches to sing the Nunc dimittis.

A priest offering the Mass at St Mary's Basilica, Bangalore

The priest enters, with a deacon if there is one, and altar servers (who may act as crucifer, candle-bearers and thurifer). The priest makes the sign of the cross with the people and formally greets them. Of the options offered for the Introductory Rites, that preferred by liturgists would bridge the praise of the opening hymn with the Glory to God which follows.[24] The Kyrie eleison here has from early times been an acclamation of God's mercy.[25] The Penitential Act instituted by the Council of Trent is also still permitted here, with the caution that it should not turn the congregation in upon itself during these rites which are aimed at uniting those gathered as one praiseful congregation.[26][27] The Introductory Rites are brought to a close by the Collect Prayer.

On Sundays and solemnities, three Scripture readings are given. On other days there are only two. If there are three readings, the first is from the Old Testament (a term wider than "Hebrew Scriptures", since it includes the Deuterocanonical Books), or the Acts of the Apostles during Eastertide. The first reading is followed by a psalm, recited or sung responsorially. The second reading is from the New Testament epistles, typically from one of the Pauline epistles. A Gospel acclamation is then sung as the Book of the Gospels is processed, sometimes with incense and candles, to the ambo; if not sung it may be omitted. The final reading and high point of the Liturgy of the Word is the proclamation of the Gospel by the deacon or priest. On all Sundays and Holy Days of Obligation, and preferably at all Masses, a homily or sermon that draws upon some aspect of the readings or the liturgy itself, is then given.[28] The homily is preferably moral and hortatory.[29] Finally, the Nicene Creed or, especially from Easter to Pentecost, the Apostles' Creed is professed on Sundays and solemnities,[30] and the Universal Prayer or Prayer of the Faithful follows.[31] The designation "of the faithful" comes from when catechumens did not remain for this prayer or for what follows.

The elevation of the host began in the 14th century to show people the consecrated host.

The Liturgy of the Eucharist begins with the preparation of the altar and gifts,[32] while the collection may be taken. This concludes with the priest saying: "Pray, brethren, that my sacrifice and yours may be acceptable to God, the almighty Father." The congregation stands and responds: "May the Lord accept the sacrifice at your hands, for the praise and glory of His name, for our good, and the good of all His holy Church." The priest then pronounces the variable prayer over the gifts.

Then in dialogue with the faithful the priest brings to mind the meaning of "eucharist", to give thanks to God. A variable prayer of thanksgiving follows, concluding with the acclamation "Holy, Holy ....Heaven and earth are full of your glory. ...Blessed is he who comes in the name of the Lord. Hosanna in the highest." The anaphora, or more properly "Eucharistic Prayer", follows, The oldest of the anaphoras of the Roman Rite, fixed since the Council of Trent, is called the Roman Canon, with central elements dating to the fourth century. With the liturgical renewal following the Second Vatican Council, numerous other Eucharistic prayers have been composed, including four for children's Masses. Central to the Eucharist is the Institution Narrative, recalling the words and actions of Jesus at his Last Supper, which he told his disciples to do in remembrance of him.[33] Then the congregation acclaims its belief in Christ's conquest over death, and their hope of eternal life.[34] Since the early church an essential part of the Eucharistic prayer has been the epiclesis, the calling down of the Holy Spirit to sanctify our offering.[35] The priest concludes with a doxology in praise of God's work, at which the people give their Amen to the whole Eucharistic prayer.[36]

A priest administers Communion during Mass in a Dutch field on the front line in October 1944.

All together recite or sing the "Lord's Prayer" ("Pater Noster" or "Our Father"). The priest introduces it with a short phrase and follows it up with a prayer called the embolism, after which the people respond with another doxology. The sign of peace is exchanged and then the "Lamb of God" ("Agnus Dei" in Latin) litany is sung or recited while the priest breaks the host and places a piece in the main chalice; this is known as the rite of fraction and commingling.

Out of Mass (1893), oil on canvas by Joan Ferrer Miró

The priest then displays the consecrated elements to the congregation, saying: "Behold the Lamb of God, behold him who takes away the sins of the world. Blessed are those called to the supper of the Lamb," to which all respond: "Lord, I am not worthy that you should enter under my roof, but only say the word and my soul shall be healed." Then Communion is given, often with lay ministers assisting with the consecrated wine.[37] According to Catholic teaching, one should be in the state of grace, without mortal sin, to receive Communion.[38] Singing by all the faithful during the Communion procession is encouraged "to express the communicants' union in spirit"[39] from the bread that makes them one. A silent time for reflection follows, and then the variable concluding prayer of the Mass.

The priest imparts a blessing over those present. The deacon or, in his absence, the priest himself then dismisses the people, choosing a formula by which the people are "sent forth" to spread the good news. The congregation responds: "Thanks be to God." A recessional hymn is sung by all, as the ministers process to the rear of the church.[40]

The various Eucharistic liturgies used by national churches of the Anglican Communion have continuously evolved from the 1549 and 1552 editions of the Book of Common Prayer, both of which owed their form and contents chiefly to the work of Thomas Cranmer, who in about 1547 had rejected the medieval theology of the Mass.[43] Although the 1549 rite retained the traditional sequence of the Mass, its underlying theology was Cranmer's and the four-day debate in the House of Lords during December 1548 makes it clear that this had already moved far beyond traditional Catholicism.[44] In the 1552 revision, this was made clear by the restructuring of the elements of the rite while retaining nearly all the language so that it became, in the words of an Anglo-Catholic liturgical historian (Arthur Couratin) "a series of communion devotions; disembarrassed of the Mass with which they were temporarily associated in 1548 and 1549".[43] Some rites, such as the 1637 Scottish rite and the 1789 rite in the United States, went back to the 1549 model.[45] From the time of the Elizabethan Settlement in 1559 the services allowed for a certain variety of theological interpretation. Today's rites generally follow the same general five-part shape.[46] Some or all of the following elements may be altered, transposed or absent depending on the rite, the liturgical season and use of the province or national church:

• Gathering: Begins with a Trinitarian-based greeting or seasonal acclamation ("Blessed be God: Father, Son and Holy spirit. And Blessed be his kingdom, now and forever. Amen").[47] Then the Kyrie and a general confession and absolution follow. On Sundays outside Advent and Lent and on major festivals, the Gloria in Excelsis Deo is sung or said. The entrance rite then concludes with the collect of the day.
• Proclaiming and Hearing the Word: Usually two to three readings of Scripture, one of which is always from the Gospels, plus a psalm (or portion thereof) or canticle between the lessons. This is followed by a sermon or homily; the recitation of one of the Creeds, viz., the Apostles' or Nicene, is done on Sundays and feasts.
• The Prayers of the People: Quite varied in their form.
• The Peace: The people stand and greet one another and exchange signs of God's peace in the name of the Lord. It functions as a bridge between the prayers, lessons, sermon and creeds to the Communion part of the Eucharist.
• The Celebration of the Eucharist: The gifts of bread and wine are brought up, along with other gifts (such as money or food for a food bank, etc.), and an offertory prayer is recited. Following this, a Eucharistic Prayer (called "The Great Thanksgiving") is offered. This prayer consists of a dialogue (the Sursum Corda), a preface, the sanctus and benedictus, the Words of Institution, the Anamnesis, an Epiclesis, a petition for salvation, and a Doxology. The Lord's Prayer precedes the fraction (the breaking of the bread), followed by the Prayer of Humble Access or the Agnus Dei and the distribution of the sacred elements (the bread and wine).
• Dismissal: There is a post-Communion prayer, which is a general prayer of thanksgiving. The service concludes with a Trinitarian blessing and the dismissal.

The liturgy is divided into two main parts: The Liturgy of the Word (Gathering, Proclaiming and Hearing the Word, Prayers of the People) and the Liturgy of the Eucharist (together with the Dismissal), but the entire liturgy itself is also properly referred to as the Holy Eucharist. The sequence of the liturgy is almost identical to the Roman Rite, except the Confession of Sin ends the Liturgy of the Word in the Anglican rites in North America, while in the Roman Rite (when used) and in Anglican rites in many jurisdictions the Confession is near the beginning of the service.

The Anglican tradition includes separate rites for nuptial, funeral, and votive Masses. The Eucharist is an integral part of many other sacramental services, including ordination and Confirmation.

Some Anglo-Catholic parishes use Anglican versions of the Tridentine Missal, such as the English Missal, The Anglican Missal, or the American Missal, for the celebration of Mass, all of which are intended primarily for the celebration of the Eucharist, or use the order for the Eucharist in Common Worship arranged according to the traditional structure, and often with interpolations from the Roman Rite. In the Episcopal Church (United States), a traditional-language, Anglo-Catholic adaptation of the 1979 Book of Common Prayer has been published (An Anglican Service Book).

All of these books contain such features as meditations for the presiding celebrant(s) during the liturgy, and other material such as the rite for the blessing of palms on Palm Sunday, propers for special feast days, and instructions for proper ceremonial order. These books are used as a more expansively Catholic context in which to celebrate the liturgical use found in the Book of Common Prayer and related liturgical books. In England supplementary liturgical texts for the proper celebration of Festivals, Feast days and the seasons is provided in Common Worship; Times and Seasons (2013), Festivals (Common Worship: Services and Prayers for the Church of England) (2008) and Common Worship: Holy Week and Easter (2011).

These are often supplemented in Anglo-Catholic parishes by books specifying ceremonial actions, such as A Priest's Handbook by Dennis G. Michno, Ceremonies of the Eucharist by Howard E. Galley, Low Mass Ceremonial by C. P. A. Burnett, and Ritual Notes by E.C.R. Lamburn. Other guides to ceremonial include the General Instruction of the Roman Missal, Ceremonies of the Modern Roman Rite (Peter Elliott), Ceremonies of the Roman Rite Described (Adrian Fortescue), and The Parson's Handbook (Percy Dearmer). In Evangelical Anglican parishes, the rubrics detailed in the Book of Common Prayer are sometimes considered normative.