The Mass
It is a setting of the main movements of the ordinary of the mass, the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. Unlike most cyclic English masses of the period, it includes a polyphonic Kyrie: most of the others had the Kyrie sung in plainchant. Each movement states the structural melody twice through, and always in the tenor. It is stylistically close enough to the work of John Dunstaple that it has been suggested that it may be his work, but no actual link has been found.
The most significant feature of the mass for the development of music on the continent was its freely composed bass line. The possibilities must have been obvious to composers, since many immediately imitated the procedure, which allowed for harmonic freedom unchained to the tenor, a voice which formerly inhabited the lowest range alone. Freely composed, the bass could control harmony in a way that made possible the chord progressions and gradual shift to functional tonality that took place a hundred years later. The late 15th century was to see an outpouring of music exploiting low tessituras, for example in the output of Johannes Ockeghem, an innovation which began with the Missa Caput.
Read more about this topic: Missa Caput
Famous quotes containing the word mass:
“The mass believes that it has the right to impose and to give force of law to notions born in the café.”
—José Ortega Y Gasset (1883–1955)
“Life is a series of diminishments. Each cessation of an activity either from choice or some other variety of infirmity is a death, a putting to final rest. Each loss, of friend or precious enemy, can be equated with the closing off of a room containing blocks of nerves ... and soon after the closing off the nerves atrophy and that part of oneself, in essence, drops away. The self is lightened, is held on earth by a gram less of mass and will.”
—Coleman Dowell (1925–1985)