Central Washington University ScholarWorks@CWU
All Master's Theses Master's Theses
1968
An Original Composition for Chorus Missa Brevis
Robert Austin Barbey Central Washington University
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Recommended Citation Barbey, Robert Austin, "An Original Composition for Chorus Missa Brevis" (1968). All Master's Theses. 796. https://digitalcommons.cwu.edu/etd/796
This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. 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 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 PAGE I. THE PROBLEM AND DEFINITIONS OF TERMS USED . • • 1 The Problem • 1 Statement of the problem 1 Importance of the study • 2 Limitations of the study 2 Definitions of Terms Used . 2 Mass 2 Cyclic 3 Lydian mode • • • • • • • • • . . . . 3 II. REVIEW OF THE LITERATURE • • ...... 4 III. ANALYSIS OF THE COMPOSITION ...... 6 Kyrie Eleison • 7 Gloria 8 Credo • 10 Sanctus et Benedictus • 12 Agnus Dei • ...... 13 IV. SUMMARY • • • • • 15 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • • 16 APPENDIX. Missa Brevis, An Original Composition for Choir ...... 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 2 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 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 represen tative 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 compo ser, not the liturgy. This idea, which is the historical premise of the cyclic Ordinary, betrays the weakening of the purely liturgical consideration and the strengthen ing 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: 7 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 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 and on earth peace rgood ~will. The final s.tatement of the theme is heard one fourth higher and is treated in augmentation: 10 Example 8. r ~r r tlr r ,, !YI P1Glo-ry r 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. ------J ...,. r r f?Js e J Ho- san-na in the high est • . . "" At measure sixteen the motive is again heard in triplet rhythm: Example 16. - J J ~ :::i.,.. tVf4J r r 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 I / © ...... • • ... • I I .. I • • - I -. -.a I l - ' • I I ,... -,, ,, ------' - ... - .. -' S. ,... , I I I .... - I I .I - ....- - - . - - I ' - - I' - - - • - -4"" - " ' LORD HAllE ME. A. - C'i UP- o,.J 1.1~. Cli'l•S1"' HI\"£ ~E«.- CY UP- . L. . . ..,,. ..,. II • I •• • • I • • I I -- I • I I -. 1 - _. _J _J -,;; .. ---- - .- I r -· I I ~ - ,, - I .. • - -- - ... I - - .I .U'- - - - "'Ill• • r • - - • ~ C•U,1~1 HA\lf.. N\f.O. - c," UP- .. • II I I .... • I -. - I I -,. - I - :- - - ... ..• • I II - -' - I' - ! .J . • c'( UP- cH~IS1" H""~ l"\Ell- ..... - I ... I ,.. ,, -•II I I -.. -... I I II I •I - I I -I I LI: 6 u """ I I I I . ,...... ,.. ' j © L. l I ~ I . l ,.. .. I I I I' .. I _, ' I• -i -~ I -. J I "' -' _,I I I I ..I' - ~ _J ' -' • - " I -•1 • ------' - -111• - - 4 _._ ..... - I I I I r' .., -J I- I I I ~ •• r .. - ,, ,. 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