Ordinary of the Mass

(redirected from Mass ordinary)
(R. C. Ch.) the part of the Mass which is the same every day; - called also the canon of the Mass.

See also: Ordinary

References in periodicals archive ?
There also are single pieces for five and eight voices, while the final Mass Ordinary setting is for four, though with considerable sections to be sung by two and three voices.
Written between the world wars, it sets disparate texts drawn from the Mass Ordinary, the Bible, poetry by Walt Whitman and a speech by John Bright, which, together, lament the ravages of war and anticipate a coming age of peace.
The book is in several clearly defined sections related to liturgical function, the first of which is the Kyriale or Mass Ordinary section.
Given the predominance of troped items in this kyriale we may call it a kyriale-troper since it fits securely within the broad Spanish tradition of Mass Ordinary sources with tropes (29).
A book devoted to Obrecht's impressive collection of some thirty polyphonic settings of mass ordinary texts - "mass cycles," as they are known to musicologists - is a welcome book indeed.
The program for this album derives from the first three principal parts of the manuscript: chant (fascicle 1), Mass Ordinary movements (fascicle 2), and motets (fascicle 3).
Since there are several thousand printed settings of the Mass Ordinary from the seventeenth century, with many more preserved in manuscript, selecting works for the arduous process of transcription represents something of an act of faith.
The last piece in the collection (also the longest and the most ambitious in terms of required musical forces) sets the Litany of Loreto, a long list of supplications framed by the Kyrie and Agnus Dei from the Mass Ordinary.
A man of the theater through and through, Weber was unable to suppress his operatic instincts and avoid dramatic treatments of the Mass Ordinary.
Following a brief and at times rather fleeting chapter on the musical genre of the Mass Ordinary, Butt treats the work's "Genesis and Purpose" (chapter 2), and its "Reception History" (chapter 3); he then takes a number of analytical and stylistic approaches on text and music (chapter 4), "Ritornello Forms" (chapter 5), "The Influence of the Dance" (chapter 6), counterpoint (chapter 7), and "Figurae and the Motivic Texture" (chapter 8), and finally includes a chapter on "Patterns and Proportions: Large-scale Structuring and Continuity in the Mass in B Minor" (chapter 9).
Although La Rue composed Magnificats, motets, and chansons, his most important contributions to the repertory were settings of the Mass Ordinary, of which thirty-one survive in their entirety (almost double in number Josquin's surviving Mass cycles).
Among the intriguing aspects of this topic are the simplification of chant melodies borrowed from Rome according to the "purity" of their modes and according to humanistic principles of text declamation, as well as the creation of a large local repertory of alternatim masses--though it is unfortunate that no satisfactory explanation can be found for the missing sections of the Mass Ordinary for certain liturgical feasts (p.