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Previous to the 15th century, it was common for composers to write only single movements of mass music. However, early in the 15th century, composers began to write movements for the mass that were intended to be performed with one another. In addition, these mass movements were is some way related. This trend in composing the mass becomes what is known as the “cyclic mass.” The 15th century saw much development in the cyclic mass starting with just unified pairs of movements, such as the Gloria-Credo, and then continuing with the tenor mass, the paraphrase mass, and then with the imitation mass. Also, an important feature in the development of composing unified mass music was the L’homme arme melody. This melody was used as the basis for many cantus firmi for more than thirty masses written later in the century by such composers as DuFay and Ockeghem (Grout, Palisca, 137-9). In the 15th century, there was great development in the mass starting with pairs of unified movements through the imitation mass.
In the earliest part of the 15th century, composers wrote single mass settings not intended to be performed with other mass movements until grouped into one mass. Eventually, composers began to compose mass settings in pairs. ... they [mass movements] are not paired on the basis of shared material, but only in their scoring. ... Accordingly, composers began their mass pairs using the “motto” method where similar melodic motives were used to being movements. ...
As time went by, composers took the idea of unifying pairs of movements further and started to compositionally connect all five of the ordinary movements of the mass.
Approximate Word count = 1253
Approximate Pages = 5
(250 words per page double spaced)
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