Liturgical terms for music students : a dictionary rtSSi+tjr /4v- '?U*.rA£ . . No. 1175 , >. 1 1 a I LITURGICAL TERMS for MUSIC STUDENTS A DICTIONARY Compiled by Dom Anselm Hughes, O.S.B. McLaughlin & reilly co. Boston, Mass. No. 1175 LITURGICAL TERMS for MUSIC STUDENTS A DICTIONARY Compiled by Dom Anselm Hughes, O.S.B. McLaughlin & reilly co. Boston, Mass. $1.00 Nihil Obstat Rev. Francis S. Shea, D.D. Censor Delegatus Imprimatur fRiCHARD J. Cushing Archbishop of Boston Feb. 9, 1951 Copyright MCMXL McLaughlin & Reilly Printed in the United States of America Second Printing PREFACE This short dictionary is compiled for the use of the many students of musical history who, possessing little or no first- hand knowledge of the Catholic Liturgy, find their path bestrewn with terms whose significance they are supposed to understand at sight. Research in the larger encyclopaedias takes considerable time and is sometimes disappointing; and the impression may be gained that the Catholic Liturgy is a wilderness of confused and pedantic details, instead of being, as it truly is, an orderly garden. Complex it is, of course; but so is every other department of human knowledge; pedantic it is not, though it does retain innumerable things which, though appearing archaic, are in fact treasured links binding it to the Christian worship of the earliest ages. The work is not designed to inform students upon the ex- haustive scale of (e.g.) Grove s Dictionary of Music and Musicians, or the new Dictionary of Music projected by the Harvard University Press; nor to cover the wide range of {e.g) Percy Scholes’ Oxford Companion to Music. It is intended to include definitions, concise in the vast majority of instances, of all terms likely to occur in the literature of ancient ecclesias- tical music of the West. A boundary line has to be drawn somewhere, and the division between the Greek and Latin cultures seems to be the most convenient, for there is but little interplay between the music of the Orthodox Eastern Churches (and, a fortiori, of Asiatic Music) and that of the Roman Catholic Church and other West European com- munions deriving therefrom. Such interplay as exists is almost entirely confined to (a) questions of the nomenclature of the Modes (not of the Modes themselves) and (b) possible Arabic influence upon the music of Spain. In the near future we may perhaps know much more of the connections between Eastern and Western Liturgical chant: but the results are not yet ready for the Dictionary-maker. Some unusual entries in the domain of Mensurate Music may call for comment. It is the compiler’s belief that much has been missed by the unfortunate accident that musical historians have specialized mostly either in Gregorian Music or in Mensurate Music, seldom in both at the same time. The two are interlocked throughout the Middle Ages, and though the purest and best centuries of the Gregorian music are admitted to be those preceding the opening of the Mediaeval period proper, it is in that Mediaeval period that the Grego- rian chant was most widespread, and most influential in the development of Music as a whole. This dictionary could not hope to be exhaustive on this point, but a glance at the open- ing of the entry Notation will show its necessity to the first- hand student of the mediaeval Liturgical manuscripts. LITURGY (the Public Worship of the Christian Church), falls into two divisions (a) Mass (b) Office. Musi- cally, the Mass is by far the most important part of the Liturgy, for the following reasons: 1. Composition has been most prolific in this division. 2. Composers have found their highest inspiration herein. 5. Its religious significance, higher than that of the Office, is reflected in the greater attention paid to it by musical writers. 4 . For practical purposes. Mass is performed (‘ cele- brated ’) with music on all Sundays and great feasts in most Churches. Some, but not all, per- form also a small portion of the Office, Vespers. Only great Monastic Churches or Convents sing the whole. For these reasons it will be found that most of the liturgi- cal entries in this book refer to the Mass. At the end will be found two Tables showing the way in which the various items fit into the structure of Mass and Office. ANSELM HUGHES, O.S.B. LITURGICAL TERMS ACCENTUATION — The basis of formal spoken Latin being the tonic accent, liturgical prose passages for example. Scripture Lessons, — have a definite system of cadential inflexions, said to be similar to, or even identical with, those used by the Advocates in the Roman Forum. The guide to this system is found in the Appendix to the Graduate Vaticanum. ACCENTUS — The sung or declaimed part of the Mass, per- formed by the Priest with corresponding responses by Choir, or Choir and people: in contradistinction to the Concentus, which is the part sung by the Choir, or Choir and people, either in chorus or in solo and chorus. (See Table I.) ADOREMUS IN AETERNUM — An antiphon and psalm sung at the end of the service of Benediction (see Table II). Many fine polyphonic and modern settings of this text have been composed as alternative to the Gregorian chant. The title Adoremus in aetemum will normally refer to the whole item of Psalm and Antiphon, not to the antiphon only. ADVENT—The opening season of the Christian year, being the four Sundays before Christmas with their following weekdays—thus varying in length from 22 to 28 days, according to the day of the week upon which 25th De- cember falls. “Advent Sunday” is the first Sunday in Advent. AEVIA—The vowels of the word Alleluia, used in this form in the early Tonalia for brevity (cf. Evovae). AESTIVALIS—The section of the Breviary containing the services for the Summer quarter of the year, from Trinity Sunday (the first Sunday after Pentecost) until the end of August. In older times the Breviary was divided into two parts, not four as today, and the Summer part bore this name. 1 AGNUS DELI he fifth and last of the great choral hymns of the Mass (see Table I). The form in Requiem Mass varies, as follows Agnus Dei, qui tollis peccata mundi: miserere nobis (dona eis requiem) twice. Agnus Dei , qui tollis peccata mundi: dona nobis pacem (dona eis requiem sempiternam), ALLELUIA^-(Hebrew. Praise ye the Lord). (1) In the Mass, a choral number following after the Gradual in the form of Alleluia (twice), a verse from the psalms or elsewhere, and a third Alleluia. In Eastertide, after the first six days up to the end of the season, the form is Alleluia (twice). Verse; Alleluia (a second tune unrelated to the first). Verse, Alleluia: thus making four repetitions instead of three. The Gradual is omitted at these times, being replaced by the first Alleluia and Verse. During Septuagesima season. Lent, Ember Days, on Vigils and at Requiem Masses it is replaced by the Tract (except on certain weekdays, for which see Tract), and it is omitted altogether on weekdays in Advent. (2) In the Office, Alleluia is added to all Antiphons, Versicles, and Responsories during Eastertide; also to many of these items at certain other festivals, such as Christmas and Corpus Christi. During the whole year (except from Septuagesima to Easter) it follows Gloria Patri at the beginning of each Office. ALMA REDEMPTORIS One of the four ' Antiphons B.V.M.”. It is used from the first Sunday in Advent up to February 2nd. AMBROSIAN CHANT, HYMNS, RITE. (a) Chant. The Ambrosian Chant is the result of collection and codification of the current monodic music of the district of Milan in Northern Italy, made by its Bishop, St. Ambrose (340-597). Its difference from the Gregorian 2 Chant may be described as that of an earlier, half-way, ‘stage on the way to the complete and final recension made by St. Gregory at Rome two hundred years later; a difference of “dialect” (Duchesne, Christian Worship). Lit. P. Wagner, Introduction to the Gregorian Melodies, English trans. 1901, pp. 47 ff. W. H. Frere, Introductory Volume of Oxford History of Music, 1929, Ch. VI, pp. 136, 152. Paleographie Musicale, Vol. V. (b) Hymns The hymns written by or ascribed to St. Ambrose are the prototypes of all Latin hymnody, earlier efforts by (e g.) St. Hilary of Poitiers having no direct descendants. They are used in the Gregorian boohs, not only in those of Milan. Much controversy has taken place over the exact number actually written by St. Ambrose, and the issue is clouded by the custom of early writers in de- scribing a hymn as Ambrosianum, by which they did not necessarily mean to denote authorship, but only member- ship of the Ambrosian cycle. Lit. G. Dreves, Aurelius Ambrosius 1893. A. Hughes, Latin Hymnody, 1923. (c) The Ambrosian Rite, or order of service, both for Mass and Office, has survived at Milan, whereas all other local Churches eventually adopted the Roman, i.e. Gregorian, Rite. The single exception to this rule has been the Mozarabic Rite in Spain. Lit. W. C. Bishop, The Mozarabic and Ambrosian Rites, 1924. E. Garbagnati, Gli Inni del Breviario Ambros- iano. AMPHIBRACH see Meter ANAPAEST see Meter 5 ANCUS »— see Neums. ANTHEM This word is etymologically the same as Anti- phon, but its actual connotation has become distinct. It is now applied generically to any short piece of sacred music written to English words: normally with an inde- pendent organ accompaniment, for an unaccompanied piece is more usually published under the title of Motet. ANTIPHON A short text from Scripture or elsewhere, sung before and after a Psalm or Canticle. On greater feasts it is sung entire both before and after the Psalm or Can- ticle; at other times the first word or two only (the lncipit) are sung before, and the whole after. ANTIPHONA AD COMMUNIONEM ^ An old name for Communio, q.v. ANTIPHONALE The book of chants for the Office, con- taining the music not only of the Antiphons, but also of the Hymns, Short Responsories, and other incidental pieces, with the text of the Psalms, Collects, &c. Anti- phonale Missarum is the early pre-mediaeval title of the Graduale. The normal printed edition of the Anti- phonale today is one which omits the music of Matins and is styled accurately on its title-page Antiphonale pro Diumis Horis. ANTIPHONS B.V.M. The four chants known as Anti- phonae Beatae Mariae Virginis are not strictly antiphons at all, as they do not enframe any psalm or canticle.* They are sung during four different seasons of the year, at the end of the offices of Lauds and Compline also at the end of Vespers, unless Compline follows at once. (See Alma Redemptoris, Ave Regina Coelorum, Regina Coeli, Salve Regina). * Though Regina Coeli is used as Magnificat antiphon in the office B.V.M. in Sabbato during Paschaltide. 4 ARSIS In Gregorian music the accent is of two kinds, the Arsis or rising accent (often accompanied by a rise in the contour of the melody) and the Thesis or falling accent, frequently falling to the cadence. Broadly speak- ing, the Arsis may be said to bear the accent of dynamy or stress, the Thesis that of repose, accompanied when at the end of a sentence by a slight prolongation. AUTUMNALIS The section or volume of the Breviary con- taining the services for the Autumn part of the year, from September to Advent exclusive. AVE REGINA COELORUM — One of the four “Antiphons B.V.M.”. It is used from February 2nd up to the Wednesday before Easter. BENEDICAMUS DOMINO,—» A salutation, with the response Deo gratias, which is used at the end of all Offices, and at the end of Mass on all ferias and on Sundays in Advent, Lent and Septuagesima (i.e., on all occasions when Gloria in excelsis is not used). Replaced at Requiem Masses by Requiescant in pace . It is very frequently made the subject of a Trope (q.v.) in the Middle Ages. BENEDICITE OPERA OMNIA - The Song of the Three Children from the Book of Daniel. And Old-Testament Canticle, used as the fourth psalm at Lauds on Sundays and Festivals. Has its own special Doxology of two verses instead of Gloria Patri. BENEDICTION^ An “ “extra-liturgical* * popular service, usu- ally following Vespers (see Table II). BENEDICTUS (DOMINUS DEUS ISRAEL)- (Note that the reference Benedictus alone will nearly always refer to Benedictus qui venit, below). The Canticle from the Gospel according to St. Luke, the song of Zacharias. which is the climax of the office of Lauds. It is invariable 5 throughout the year, even in the Office of the Dead and at Tenebrae, though in these cases Gloria Patri is omitted. BENEDICTUS ES^-An Old-Testament Canticle used after the last of the five lessons from the Old Testament which precede the Epistle on Saturdays in Embertide. On Ember Saturday after Pentecost, occurring in Paschal- tide, the first verse only is used, as an Alleluia-verse. Used also on Sundays from Septuagesima to Easter, in place of Benedicite at Lauds. Has its own Doxology. BENEDICTUS (QUI VENIT) Second part of the fourth of the great choral hymns of the Mass, the Sanctus. Di- vided from the Sanctus in singing by a pause, for the Consecration and Elevation of the Sacred Host; but treated by composers, following primitive and mediaeval practice, as one movement of an item in unity with the Sanctus. In plainsong, the first six words are usually sung as a solo or by Cantors, leading into the final chorus of the second Hosanna. BIVIRGA A formation of two virgas (see Neums) placed together over one syllable in Gregorian music, denoting a pronounced accent of increased duration as well as of intensity. B.M.V. r— (or B.V.M.). The initials stand for Beatae Mariae Virginis (or Beatae Virginis Mariae). BREVIS^ A square black note in mensurate music of the Middle Ages. It has no tail, and when two are joined in one ligature descending, the notes form one single figure, of oblique rhomboid shape. Its mensurate value is one- third of a Perfect Long, one-half of an Imperfect Long. In the later Middle Ages (the period of Ars Nova , from about 1350 onwards) the Brevis is subdivided into either two or three Semibreves. B.V.M. ^ see B.M.V. 6 CAERIMONIALE EPISCOPORUM - A book of rules for the conduct of services on very special occasions, as when a Bishop presides. Many of its instructions relate to the music for use on these occasions. CANDLEMAS— The festival of the Purification of the Blessed Virgin Mary, occurring on February 2nd, and taking its title from the procession with blessed candles which pre- cedes the Mass. While the candles are distributed before the procession the Nunc dimittis is chanted, with the antiphon Lumen ad reuelationem sung between every verse, in primitive style. CANON— The Canon of the Mass is the central and most solemn part of the service, said sotto voce by the officiat- ing priest. It is introduced by the Sanctus, and ended by the Pater Noster chanted by the priest with choir response at the end Sed libera nos a malo. The Agnus Dei fol- lows at once. The Benedictus is now sung during the second part of the Canon, not as part of the Sanctus. CANTICLE— A Scripture song similar to a psalm but occur- ring elsewhere than in the Psalter of David. The Can- ticles are of two kinds 1. The Old Testament Canticles, occurring in Matins and Lauds, and not the subject of any musical compo- sition outside the Gregorian Chant, except for those in the office of Tenebrae. 2. The New Testament or “Gospel Canticles ’, which form the climax of Lauds (Benedictus), Vespers (Mag- nificat) and Compline (Nunc dimittis). CANTOR — The leader of choral singing in the Gregorian Chant. Usually two cantors occupy the lectern in the middle of the choir, sometimes four or six: or a single cantor may direct from his ordinary place in choir. The cantor or cantors perform the office of soloists as a rule as well as that of leading out with the lncipits. The 7 title is sometimes used (as of J. S. Bach in the Thomas- schule at Leipzig) in place of Precentor. CAPITULUM ^ A few verses of Scripture (“Little Chapter”) following the psalms at Lauds and Vespers (and at other offices, festival Matins excepted), chanted by the officiant with inflexions. CARDINALIS Title of one of the traditional chants for Credo , only three of which are given in the official Gre- gorian books today. Cardinalis is the second oldest of these settings, and is to be found set for two voices in an Icelandic MS of the 14th century (Sammelbande der Internationalen Musiksgesellschaft I 341). It is a strong melody in the first, or so-called Dorian, mode. CANTO FERMO (CANTUS FIRMUS) -- The given theme or motif upon which a composition is constructed. The name signifies that the tune or melody is a “closed chant”, i.e., of definite form and not subject to alteration by the composer. In early times the great sources of such themes for compositions were the Church books of plain chant, hence the title Canto, but there is no essential idea of “song” implied; and many of the mediaeval canti fermi have all the appearance of having been taken from dance music. The titles of, for example, the Masses of Palestrina show besides the liturgical themes of Aeterna Christi munera, Iste Confessor, and so on, the secular tunes such as L’homme arme, and the purely musical schemes such as Ut re mi. (See also Missa brevis.) CEPHALICUS ^ see Neums. CHANT The Chant is normally a way of denoting the Gregorian Chant. To chant is, in modern parlance, to sing a passage of prose without fixed meter, to a tune which is based upon a single dominant note (the mono- tone), varied at the intermediate and final cadences by 8 other notes (the Inflexion). Chants where the monotone has almost disappeared, or where there are long melis- mata upon single syllables, are usually styled “ornate ’. CHRISTE The second movement of Kyrie eleison. CHAPEL — The director of music in a French Cathedral is styled Maitre de Chapelle (cf. German Kapellmeister), and the origin of this name is not without interest. Orig- inally capella meant a cape or cloak: and the revered cloak of St. Martin of Tours was a famous relic belong- ing to the early French Kings. Next, the word was applied to the building in which it wTas housed, then to the staff or personnel attached to this chapel (capellani, chaplains). Eventually the term (in music) came to mean a corporate body of musicians, vocal and instrumental. Other technical meanings have come down in the spheres of (2) architecture (3 ) typography (4) theology. The Chapel Royal attached to the establishment of the English Kings played a valuable part in the development of English Music. St. George s Chapel is a collegiate body located at Windsor, and is also of very considerable musical importance, historically and otherwise; but it is entirely distinct from the movable Chapel Royal. CLIMACUS — see Neums. CLIVIS— see Neums. COLLECT- The prayer of the day at Mass and Offices, according to the Calendar. Originally it “collected” the prayers of the people made in the Litany of which Kyrie eleison is the survival. Frequently one or more supple- mentary collects are added to the principal one. COLLECTAR, COLLECTARIUM - A mediaeval manuscript containing the words of the Collects, which wrere not written in the eatlier Antiphonalia. COMMUNE SANCTORUM (COMMON OF SAINTS) — The section of the Antiphonale (or of the Breviary) or the section of the Gradual or Missal, which gives the services 9 for Saints Days grouped under classes, not as individuals (for which see Proprium Sanctorum) thus*—Apostles, Martyrs, Confessors, Virgins, &c. COMMUNION In full, “Communion Anthem”, Antiphona ad Communionem. An antiphon (without its psalm, which has disappeared for centuries) sung at Mass after the Agnus Dei (see Table I). CONCENTUS *— see Accentus CORPUS CHRISTI ^ The festival of the Most Holy Sacra- ment, on the second Thursday after Pentecost. The Sequence Lauda Sion is used on this day, and option- ally during the following week, or Octave. CREDO (Creed). The third of the five great choral hymns of the Mass. Used on all Sundays and greater feast days (see Table I). See also Patrem. The official Gregorian books give three melodies for the Creed. The first, or “authentic”, dates from the sixth century perhaps*—its real origin is lost in the mists of antiquity. It is handed down in sundry versions (known as I, II, V, VI). Creed III is that of the Missa de Angelis (q.v.). Creed IV is known by the title Cardin- alis (q.v.). CRETIC *— see Meter. CRUCIFIXUS—One of the ‘ slow movements” in the middle of Credo. The term will only be used as a rule in reference to Masses of the extended and operatic type, now for- bidden (see Motu proprio), but may occasionally be found in connection with one of the Palestrinean or other polyphonic schools. DACTYL *— see Meter. DEO GRATIAS — The response to Benedicamus Domino and Jte missa est. DIES IRAEp— Sequence used at Requiem Masses. The words are by Thomas of Celano (l 5th century), and have been spoken of as forming the finest religious poem in any language. 10 DIRGE see Office for the Dead. DOMINICA IN AL6IS *— The Sunday next after Easter, also called Low Sunday. DOMINICA IN RAMIS^ The Sunday next before Easter, the sixth in Lent; commonly called Palm Sunday. There is a special Procession on this day, the music of which is found in the Graduate or in the Processionale. The Passion is also sung by three singers (see Passion Music). EASTER# EASTERTIDE Feast of the Resurrection of Christ. It occurs at a variable date, fixed by the moon- cycle, in March or April. From it various seasons and feasts are calculated, backwards to Septuagesima and onwards into May and June. The Feast lasts for an Octave, the Season of Eastertide for fifty-six days, up to the end of the Octave of Pentecost. (See also Ex- sultet and Alleluia.) EMBER DAYS (or# Quatuor Tempora) Fast days, three in number (Wednesday, Friday and Saturday) occurring shortly before each one of the Quarter Days (Dec. 25 , March 25 , June 24 , Sept. 29). Alleluia is omitted at Mass on these days, and on the Saturdays a series of lessons and graduals precedes the Epistle. ENDING *— The ending of a psalm-tone varies, whereas its other parts (inception and mediation) are fixed in an eightfold modal scheme. There are, for example, about a dozen forms in use for the first and third modes, but one only for the second and sixth, their enumeration varying according to the Antiphonale used, whether Roman, French, Sarum, and so on. Their purpose is to lead, by the right cadence and final note, into the opening phrase of the Antiphon which is to follow the end of the psalm. EPIPHONUS r— see Neums. 11 EPISEMA— Certain Gregorian manuscripts of the 10th and 1 1th centuries have some of their neums thickened at one end, or otherwise show distinctive marks. These marks, the episemata, are held to indicate the preservation of an older rhythmic tradition. Their revival in the chant- books printed under the direction of the Abbey of Soles- mes (q.v.) has given rise to lively controversies. EPISTLE ^ A passage of Scripture, normally (but by no means always) taken from one of the Epistles of St. Paul, chanted at Mass with inflexions, or monotoned, after the Collect or Collects (see Table I). ESTIVALIS - A mediaeval spelling of AESTIVALIS, q.v. ET EXSULTAVIT The opening of the second verse of Magnificat. The first verse and the other odd numbers being left to the Plainsong by some composers, the Poly- phonic or Mensurate (“Figured”) portion will begin with these words, and the composition may occasionally be listed in musical collections as Et exsultavit instead of Magnificat. (Cf. Et in terra, Patrem.) ET IN TERRA — The second phrase of Gloria in excelsis Deo. The first phrase is always sung by the officiating priest, and the chorus picks up at Et in terra. Musical settings therefore begin with this phrase, and a custom exists among musicologists whereby the settings of the 15th century and thereabouts are indexed under Et in terra instead of under Gloria in excelsis Deo. ET INCARNATUS EST One of the “ slow movements” in Credo. A remark under Crucifixus is applicable here also. EVOVAE ^ The vowels of “saeculorum. Amen”, the close of Gloria Patri, and therefore the final syllables of any psalm or canticle, leading on into the Antiphon. Used thus, for the sake of brevity, in the earlier Tonalia. 12 EXSUXTET^-A long rhapsodical chant, of great antiquity and beauty, sung at the Blessing of the Paschal Candle on Easter Eve, by the Deacon. Its form is cognate with the customary music of the Sursum corda and Preface (q.v.). FARSE (verb) When a Kyrie melody has a Trope written to it, it is said to be “farsed”, or ‘ stuffed”. For a noun, the participle “farsing” is used. FERIA »—» Any weekday in the Calendar on which no sort of festival occurs. FLEXA^(l) The same as Clivis, q.v. (2) The flex in psalmody occurs when the former half of a verse is too long to be sung in one breath, and at the breathing point a slight inflexion of tone is made. It can never occur in the latter half of the verse, because of the Latin system of rhythmic division: for if the verse is long enough for three breaths, the flex will be at the first breath, and the Mediation at the second; if too long for three breaths, it would be automatically divided into two separate verses. FOOT ^ see Meter. GAUDETE— A name for the third Sunday of Advent, from the first word of the Introit (Cf. Laetare , Quasimodo). GLORIA IN EXCELSIS DEO^ (Where the term Gloria alone occurs it will usually refer to this item, not to Gloria Patri). The second of the five great choral hymns of the Mass. Invariable throughout the year; used on Sundays (except in Advent, Septuagesima and Lent) and on all Feasts except that of the Holy Innocents on December 28th (See Table I). See also Et in terra. GLORIA PATRI A Doxology or appendix of two verses, added to all Psalms and Canticles, with the exception of Benedicite opera omnia and Benedictus es, which have their own special forms. 15 GOSPEL - A passage of Scripture, invariably taken from one of the four Gospels, chanted with inflexions at Mass. (See Table I.) GOSPEL-CANTICLE <— see Benedictus Dominus Deus Israel, Magnificat , Nunc dimittis. GRADUAL ^ A verse, usually from the Psalter or other part of Scripture, sung after the Epistle at Mass (see Table I). The form is Incipit, Chorus, Verse, Chorus; but nowa- days the second Chorus is almost universally omitted. It is, however, enjoined when the sense of the words requires it, as on the feast of St. John the Baptist, June 24th. GRADUALE — The book which contains the music not only for the Graduals but for the whole of the variable and in- variable parts of the Mass sung by the choir. This latter section, the invariable parts, is sometimes called the Kyriale. The ancient title of the Gradual was Anti- phonale Missarum. See also Missale plenarium. GREGORIAN CHANT -- The traditional and official plain- song of the Roman Church for her services. Derives its name from Saint Gregory the Great, the sixth-century Pope who codified and promulgated the Chant in this form. HIEMALIS ^ The section of the Breviary containing the services for the Winter quarter of the year, from Advent to Septuagesima: in older times, for the Winter half of the year. HIGH MASS (Or, Solemn Mass, Missa solemnis). The full ceremonial form of the Choral Mass, differentiated from Missa Cantata (Sung Mass) in that the Epistle and Gospel are chanted by the two assistant ministers. Sub- deacon and Deacon, respectively. The term High Mass is often (inaccurately) applied to Missa Cantata. 14 HOSANNA r— Hosanna in excelsis is the end-phrase of both sections of the Sanctus*—(a) Sanctus (b) Benedictus It is naturally treated by composers as a climax or grand chorus. HYMN see Office-Hymn. IAMBUS see Meter. ICTUS — An accentual feeling, not in the sphere of stress, but in that of rhythm or movement. (See Episema.) 0 INCIPIT The first few words of a liturgical text, sung by the Cantor before the Chorus picks up. This serves the purpose of setting the pitch, and in many cases is also useful in reminding the singers of the mode or tonality. At Mass, the Incipits of Gloria and Credo are always sung by the officiating priest, not by the Cantor. The incipit of a psalm-tone is the first few notes rising to the reciting-note (dominant): used for the first verse only; but in the Gospel-canticles it is used in every verse, except in the Office for the Dead. INDIRECTUM see Tonus indirectum. INFLEXIONS ^ (a) at Mass. A sinking of the voice for one or two tones, occasionally for a fifth, at cadences and half-cadences in the Collects, Epistles, Gospels and Les- sons. (h) in Psalm-tones, the Inflexion is the half-cadence in the middle of each verse: it is more strictly defined as the Mediation. Rules for both of the above processes will be found in the appendix to the Antiphonal. INTROIT The opening chant of Mass, consisting of an Antiphon, Verse, Gloria Patri (except at Requiems and during Passiontide), and a repetition of the Antiphon. Varies from day to day (see Table I). 15 INVITATORY— The first psalm of Matins, Venite exsulte- rnus, Ps. 94. Distinguished in its treatment in that the Antiphon is repeated entire after verses 2. 6, 10, and the second half after verses 4, 8, and Sicut erat , ending with the antiphon entire. This is the ancient method of psalm- ody, and survives only in this instance, with the excep- tion of the singing of Nunc dimittis on the feast of Candlemas, q.v. ITE MISSA ESTp— The concluding salutation at Mass: used on all Sundays or feast days where Gloria in excelsis is sung. At other times (except at Requiems) Benedicamus Domino is used instead. KYRIALE A name for the section of the Graduale which contains music for the five invariable parts of the service (Kyrie, Gloria, Credo, Sanctus, Agnus). Its official name is Ordinarium Missae. KYRIE ELEISON A nine fold Litany-chant surviving from the days when Greek was the general liturgical tongue. See Table I. LAETARE A name for the fourth Sunday in Lent, from the first word of the Introit (Cf. Gaudete, Quasimodo). LAMENTATIONS A name given to the first three Lessons at Tenebrae (q.v.) which are taken from the Lamenta- tions of the Prophet Jeremias. LARGA An oblong black note in Mensurate music of the Middle Ages, usually with a tail, being three times (or twice) the length of the Longa or unit of measurement. LAUDA SION ^ The sequence for Corpus Christi festival. Words by Saint Thomas Aquinas (1227-1274) to the tune of an older sequence, Laudes crucis attollamus. LAUDS The second of the Daily Hours (see Table II). With the exception of the Canticle (Benedictus Dominus Deus Israel) and perhaps the office-hymn, it will be ex- cessively rare to find any music for this service other than Gregorian Chant. (But see Tenebrae.) 16 LAUS — (Laudes) is the technical name for the early mediaeval tropes upon gloria in excelsis. LECTIONARY — A booh of Lessons for use at Matins. In modern times this is incorporated with the Breviary, but in older times it was written as separate from and com- plementary to the Antiphonale and CoIIectar. LENT,— The forty weekdays and six Sundays before Easter: the season thus always begins on a Wednesday (Ash Wednesday). In Latin, Tempus quadragesimale or Quadragesima. For a short symbol, XL is used. LESSONS— (l) At Mass, on certain days such as Ember Wednesdays and Saturdays, and the Vigils of Easter and Pentecost, one or more Lessons from the Old Testa- ment, styled Prophecies, precede the Epistle. (2) At Matins, the Lessons (see Table II) are read or chanted to simple inflexions: but the first three lessons of Tenebrae, known as the Lamentations, are sung to a more ornate chant, sometimes with polyphonic settings. LIGATURE— (l) In Gregorian music, a succession of notes to be sung over one syllable are actually joined together, or at least grouped very closely, in the notation. This form is called a Neum or Ligature; and it is to be hoped that the latter name will come into more universal use, as the former has other meanings. In very ornate pas- sages two, three, or any number of ligatures may be found following one another on a single syllable, the division between each marking a point of rest in the rhythm, not a pause in time. (2) In Mensurate music of the Middle Ages, notes are combined in Ligature under a highly complicated system, for details of which reference must be made to specialized works, e.g., the chapter Notation by Sylvia Townsend Warner in the Introductory Volume of the Oxford History of Music, second edition. But it is worth remarking here that the occurrence of neum forms in which the tail is unexpectedly missing, or placed on 17 the wrong side or facing in the wrong direction ( ‘With- out Propriety ) indicates that the passage of music in question belongs to the domain of Mensurate Music, not of the Gregorian Chant. See Notation. LITANY The Litany of the Saints is sung on the Vigils of Easter and Pentecost, on April 25th and on the three Rogation Days. Litanies of various kinds are also used frequently at Benediction, the most usual being the Litany of the Blessed Virgin Mary (Litany of Loreto). Musical set- tings by modern composers are frequently used for these. LITURGICAL BOOKS 1. Used at Mass (a) Missal: contains the Priest s part, and the words without music of the Choir parts. (b) Gradual: contains music of the Choir parts only. 2. Used at the Office (a) Antiphonal : contains music of the Choir parts, and the Collects, but not the Lessons. (b) Breviary: contains words only of the Antiphonale, and includes the Lessons. 3. Used at other times (a) Processional: contains special music for Processions. (b) Pontifical : for services in which a Bishop or other Prelate takes part; includes some necessary music, as does also (c) Manual, or Ritual: for occasions such as Bap- tisms, Weddings, Funerals and many others. (d) Caerimoniale Episcoporum, q.v. 4. Semi-official books, authorized for ad libitum use, are those such as the Variae Preces, edited by the monks of Solesmes: these contain hymns, sequences, antiphons, &c. for use at Benediction and other occa- sion in addition to the official Liturgies, and are chiefly useful as containing plainsong music of ancient date which has disappeared from the current books and therefore would otherwise be lost from the living tradition. 18 HOW TO LOCATE AN ITEM IN THE LITURGICAL BOOKS If metrical, the text will be found in the index of Hymns at the end of the Antiphonal (Editio Vaticana, 1912 , is the official text: note that there are two series of hymns in this book, the Authentic and the later or ‘ rococo” set). But if the meter of the first line is in eight syllables trochaic instead of iambic (e.g., Heri mundus exsultavit) the text is almost certainly that of a Sequence, and as the sequences have been discarded, with five ex- ceptions, from the official books, recourse should be had to Analecta Hymnica (G. M. Dreves and Cl. Blume), which is also a source-book for the many thousands of mediaeval hymns not used in the current Antiphonal. There are more than fifty volumes in the Analecta Hym- nica, and reference for any metrical text is found most quickly by using the Repertorium Hymnologicum (Ulvsse Chevalier). If unmetrical, consult the indices of the Gradual (Editio Vaticana, 1907) or of the Antiphonal. For a text, apparently liturgical, not found in these, it will some- times be fruitful to consult the indices of the Processional, or of such facsimile publications as Graduate Saris- buriense and Antiphonale Sarisburiense (Plainsong and Mediaeval Music Society) which contain numerous items now obsolete. Other notable indexed facsimile editions of mediaeval manuscripts are the volumes of Pateo- graphie Musicale and Paleografia Musicale Vaticana. El Codex de las Huelgas (ed. Hygin Angles, Institute of Catalan Studies, Barcelona): and the Index ( 1959) to early St. Andrews Musical MS” (ed. J. H. Baxter, St. Andrews University Press, Scotland) which is obtainable separately from the Oxford University Press, contains several hundred entries which may help in tracing the more elusive items. 19 LITURGICAL DRAMA i— see Sepulcbrum Plays. LONGA-A square black note in Mensurate music of the Middle Ages, having a tail descending on the right hand side. The unit of measurement, it is subdivided into Breves, after a system which is normally triple, but must be studied in books or articles which deal with mensurate Notation. It is derived from the Virga of plainsong, from which it is indistinguishable in form. See also Ligature (2). LORD'S PRAYER see Pater Noster LOW SUNDAY — see Dominica in albis. LXX — A customary abbreviation for Septuagesima, q.v. MAGNIFICAT The Song of the Blessed Virgin Mary, from the second chapter of St. Luke s Gospel. The central item in the service of Vespers (see Table II). MANUALE — The book of the Latin Rite which contains all the occasional services^Baptisms, Weddings, Funerals, and the like*—which lie outside the normal routine of worship. Gregorian chant is provided as necessary. Also called Rituale. MASS ^-see Table I, and entries under Missa below. MATINS — The first of the Daily Hours (see Table II). When sung, the Gregorian chant is used, the only ex- ception being when polyphony is applied to parts of Tenebrae, q.v. MEDIATION— The inflexion which occurs at the end of the first half of a verse of a Psalm or Canticle. METER — Poetry in which the accents fall according to a regular scheme is described as metrical. The unit of measurement is a Foot, in which there are either two or three syllables, one of which is accented, and the others unaccented. The varieties to which reference may be 20 -w ; od ^ d o o- do made either in hymnology or in mediaeval mensurate music are as under: Trochee (/.) In mensurate music Iambus (./) Dactyl (/..) “ 44 " Anapaest (../) “ “ " Amphibrach (./.) (not employed) In addition to these, in mensurate music, where the rhythm is marked by duration rather than by dynamv, there are two other Feet, the Molossus or Cretic (— , or ooo and the Tribrach ^ ^^