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.
The page containing the text is also missing from an important manuscript containing the Mass Ordinary in Latin and German translation, which Beethoven wrote out shortly before working on the Missa solemnis, and to which he added copious notes about the subtle shades of meaning between words (e.
Composed most likely in the 1450s or 60s, the Missa De plus en plus must be one of the earlier of Ockeghem's 13 surviving settings of the Mass Ordinary.
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.
Machaut composed a great deal of secular and religious music, including the Mass for Four Voices, which is the earliest known polyphonic setting of the Mass Ordinary by one composer.
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).
Van Wye begins by collating the Mass Ordinary chants of the Paris Gradual (1738) with their Roman equivalents.
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 problem with the Magnificat, he suggests, is that its form reminds us too much of its original (liturgical) function, whereas since the nineteenth century we have been happily able to hear the Mass Ordinary as a satisfactory entity away from its primary role.
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.