Part 15 (1/2)

The word _anthem_ is derived from _antifona_ (or _antiphona_), meaning a psalm or hymn sung responsively, _i.e._, _antiphonally_, by two choirs, or by choir and congregation.

A _full anthem_ is one containing no solo parts; a _solo anthem_ is one in which the solo part is predominant over the chorus, while a _verse anthem_ is one in which the chorus parts alternate with pa.s.sages for concerted solo voices (_i.e._, trios, quartets, etc.).

162. _A capella_ (sometimes spelled _cappella_) or _alla capella music_ is part-singing (either sacred or secular) without accompaniment.

This term means literally ”in chapel style,” and refers to the fact that in the early days of the church all singing was unaccompanied.

163. _A motet_ is a sacred choral composition in contrapuntal style. It has no solo parts, thus corresponding to the madrigal (q.v.) in secular music. The motet is intended for _a capella_ performance, but is often given with organ accompaniment.

164. A _choral_ is a hymn-tune of the German Protestant Church. It is usually harmonized in four voices. The _choral_ (sometimes spelled _chorale_) is described as having ”a plain melody, a strong harmony, and a stately rhythm.” It differs from the ordinary English and American hymn-tune in being usually sung at a much slower tempo, and in having a pause at the end of each line of text.

165. The _ma.s.s_ is the liturgy for the celebration of the Lord's Supper in the service of the Roman Catholic Church. As used in the terminology of music the word refers to the six hymns which are always included when a composer writes a musical _ma.s.s_, and which form the basis of the celebration of the Communion.[35] These six hymns are as follows:

[Footnote 35: It should be understood that this statement refers to the service called ”the high ma.s.s” only, there being no music at all in connection with the so-called ”low ma.s.s.”]

_Kyrie._

_Gloria_ (including the _Gratias agimus_, _Qui tollis_, _Quoniam_, _c.u.m Sancto Spirito_).

_Credo_ (including the _Et Incarnatus_, _Crucifixus_, and _Et Resurrexit_).

_Sanctus_ (including the _Hosanna_).

_Benedictus._

_Agnus Dei_ (including the _Dona n.o.bis_).

The _requiem ma.s.s_ is the ”ma.s.s for the dead” and differs considerably from the ordinary ma.s.s. Both regular and requiem _ma.s.ses_ have been written by many of the great composers (Bach, Beethoven, Verdi, Gounod), and in many cases these _ma.s.ses_ are so complex that they are not practicable for the actual service of the Church, and are therefore performed only by large choral societies, as concert works.

166. A _cantata_ is a vocal composition for chorus and soloists, the text being either sacred or secular. The accompaniment may be written for piano, organ, or orchestra.

When sacred in character the _cantata_ differs from the oratorio in being shorter and less dramatic, in not usually having definite characters, and in being written for church use, while the oratorio is intended for concert performance.

When secular in subject the _cantata_ differs from the opera in not usually having definite characters, and in being always rendered without scenery or action.

Examples of the _sacred cantata_ are: Stainer's ”The Crucifixion,” Clough-Leighter's ”The Righteous Branch,” and Gaul's ”The Holy City.” Examples of the _secular cantata_ are: Bruch's ”Armenius,” Coleridge-Taylor's ”Hiawatha.”

167. An _oratorio_ is a composition on a large scale for chorus, soloists, and orchestra, the text usually dealing with some religious subject. The _oratorio_, as noted above, is not intended for the church service, but is written for concert performance.

168. An _opera_ is a composition for vocal soloists, chorus, and orchestra, with characters, action, scenery, and dramatic movement. It is a drama set to music.

_Grand opera_ is opera with a serious plot, in which everything is sung, there being no spoken dialog at all.

_Opera comique_ is a species of opera in which part of the dialog is spoken and part sung. _Opera comique_ is not synonymous with _comic opera_, for the plot of opera comique is as often serious as not. In fact the entire distinction between the terms _grand opera_ and _opera comique_ is being broken down, the latter term referring merely to operas first given at the Opera Comique in Paris, and the former term to those given at the Grand Opera House in the same city.

A _comic opera_ is a humorous opera, the plot providing many amusing situations and the whole ending happily. It corresponds with the _comedy_ in literature.

A _light opera_ is one with an exceedingly trivial plot, in which songs, dances, and pretty scenery contribute to the amus.e.m.e.nt of the audience. The music is lively, but usually as trivial as the plot.

The term _music drama_ was used by Wagner in referring to his own _operas_, and is also sometimes applied to other modern _operas_ in which the dramatic element is supposed to predominate over the musical.