The document summarizes music for the Renaissance Catholic mass. It describes the fixed and variable parts of the mass, known as the Ordinary and Proper. Composers like Palestrina composed polyphonic settings of the Ordinary, most famously his Pope Marcellus Mass. The Protestant Reformation led by Martin Luther and the Catholic Counter-Reformation at the Council of Trent sought to reform sacred music. The Council favored a clear, reverent style exemplified by Palestrina, who composed pure vocal polyphony that respected the text in masses like his famous Pope Marcellus Mass.

1. CHAPTER 18
Glory Be: Music for the
Renaissance Mass
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The Liturgical Year
Advent Palm Sunday
Nativity/Christmas Maundy Thursday
Epiphany Good Friday
Candlemass Easter
Ash Wednesday Pentecost
Lent All Saints/All Souls (Halloween)

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The Renaissance Mass, Part 1
I. The Renaissance Mass
A. Most solemn ritual of the Catholic Church
1. two categories of prayers
a. Ordinary: fixed portions (texts remain the same)
b. Proper: variable portions
2. sung in Latin (except the Kyrie, which is in Greek)
B. Ordinary set to music
1. Kyrie: prayer for mercy
2. Gloria: hymn of praise
3. Credo: confession of faith
4. Sanctus: song of praise
5. Agnus Dei: “Lamb of God”

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The Renaissance Mass, Part 2

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Music of the Catholic Church
The “Ordinary” of the Mass: the part that doesn’t
change each day: 5 parts
Kyrie Eleison: Lord, Have Mercy (in Greek)
Gloria: Glory to God in the Highest (in Latin)
Credo: I Believe (in Latin)
Sanctus and Benedictus: Holy, Holy, Holy (in Latin)
Agneus Dei: Lamb of God (in Latin)

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Music of the Catholic Church
The “Proper” of the Mass: changes every day: the
main chanted parts (in Latin):
Introit: introductory prayer
Gradual: often prayer of thanks or intercession (request)
Offertory: prayer of offering
Communion: prayer of thanks after communion
Post-Communion: prayer just before end of Mass

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The Renaissance Mass
•The Ordinary or fixed portion of the mass
was set to music.
•Originally sung in Latin, now the
Ordinary is recited or sung in the
vernacular.
•Settings of the Mass are often based on
fixed voice or cantus firmus.

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The Reformation and Counter-Reformation, Part 1
II. The Reformation and Counter-Reformation
A. Reformation: Protestant movement
1. Martin Luther (1483–1546), Augustinian monk
a. posted Ninety-Five Theses, 1517
b. excommunicated by Catholic Church
c. believed in monophonic congregational singing, worship in vernacular
d. admirer of Josquin, encouraged use of polyphony

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The Reformation and Counter-Reformation, Part 2
B. Counter-Reformation: Catholic Church response
1. return to Christian piety, sweeping changes
2. Council of Trent (1545–1563) concerns
a. corruption of traditional chant, extravagant embellishments
b. objected to certain instruments in church
c. use of popular songs in Masses
d. secular spirit in sacred music
e. irreverent attitude of church musicians
f. complex polyphony obscured the sacred text

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Music should be purged of “barbarism, obscurities, contrarieties, and
superfluities” so that “House of God should be house of prayer.”
Desiderius Erasmus
• Counter-Reformation (1530s–1590s)
• Council of Trent
– corruption of chant by embellishment
– use of certain instruments in religious services
– incorporation of popular music in Masses
– secularism of music
– irreverent attitude of church musicians, bad singers
• Pure vocal style that respected the integrity of the sacred
texts
The Counter-Reformation

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The Reformation and Counter-Reformation, Part 3

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The Reformation and Counter-Reformation, Part 4
3. Council’s general recommendations:
a. favor pure vocal style
b. respect integrity of sacred texts
c. avoid virtuosity
d. encourage piety
e. return to Gregorian chant
C. Giovanni Pierluigi da Palestrina (c. 1525–1594)
1. Italian composer, organist, and choirmaster
2. worked at St. Peter’s in Rome

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Appointed Choirmaster of Capella
Giulia, Vatican by Pope Julius III;
Sistine Chapel Choir; organist &
choirmaster
Published first book of Masses
Dismissed from position after
marrying
Published first book of motets; 104
masses, approx. 450 other sacred
works; madrigals
Returned to Vatican in 1571, two
eldest sons & wife died
Remarried, went into fur business,
published 16 collections of music
Died 1594
Giovanni Pierluigi da Palestrina (1525-1594)

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The Reformation and Counter-Reformation, Part 5

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The Reformation and Counter-Reformation, Part 6
3. pure a cappella style of vocal polyphony
a. typical of late Renaissance
b. clear vocal declamation of text
4. output: mostly sacred, over 100 Masses
D. Palestrina and the Pope Marcellus Mass
1. all-male a cappella choir: soprano, alto, two tenors, two basses
a. church choirs of the era were all male
b. sopranos: boy sopranos or male falsettists
c. altos: male altos or countertenors
d. trained professionals: more spiritually powerful

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The Reformation and Counter-Reformation, Part 7
2. Gloria: hymn of praise
a. restrained, serene, celestial
E. Listening Guide 7: Palestrina: Gloria, from Pope Marcellus Mass (published
1567)
1. six-part choir, a cappella
2. through-composed, short ideas exchanged between voices
3. monophonic opening: officiating priest
4. homorhythmic and polyphonic textures follow
5. frequent changes in density of voices
6. focus on clarity of the words
7. full, consonant harmony

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Pope Marcellus Mass (1562-1563)
Most famous mass
Was thought to convince Council of Trent that polyphonic
masses should be kept in Catholic worship; not true, but does
reflect need of understanding text
Dedicated to Pope Marcellus II

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“Gloria,” Pope Marcellus Mass
"Gloria," Pope Marcellus Mass

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The Reformation and Counter-Reformation, Part 8

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The Reformation and Counter-Reformation, Part 9

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Credits
This concludes the Lecture PowerPoint presentation for “The Enjoyment of Music, 4th Edition, Chapter 18: Glory Be: Music for
the Renaissance Mass”
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