1. Inttit 2 Kyrie 1 Gloria 4. Collect, 5 Epinle 6. Gradual Alleluia orTact 8. Gonpel 9. Credo to, Offertory 1, Offertony Prayers sa. Secret ag Preface 14 Sanctus 45, Canon, 16, Pater Noster 1p Agnus Dei 18. Communion 1g, Posteommunton (Of the ten chants of the Mass the five making up the Proper are not only much older than the other five, but are also more important lturgcally and more interesting musically. From the point of view of Gregorian ‘chant, Mase plain and simple invariably means the Proper, in opposition to the prevailing terminology of the past five centuries according to wi Mass means the Ordinary, 3s, for example, Bach's Baminor Mass or a Mass by Palestrina, The change of meaning occurred about 1300, when the items of the Ordinary were preferred for polyphonic composition, obviously be ‘cause a polyphonic Kyrie or Gloria could be performed on practically every feast, while polyphonic Gradual or Alleluia could be used only once ayear, "The items ofthe Proper were in general use probably as erly as joo, and by the time of Gregory this part of the Mass was fully standardized. Quite a different situation is presented by the Ordinary. The Kyrie Gloria, and Sanctus were known inthe eatlest centuries of the Christian era but were ‘sed in the Office rather than in the Mass. The introduction ofthe Gloria into the Roman Mass i ascribed to Pope Symmachus (498514); that of the Kyrie, to Pope Gregory I; while the Sanctus is said to have been instituted bby Pope Sixtus I (120). The Agnus Dei became a part of the Mass under The Srctre ofthe Litwray " the Greck Pope Sergivs I (6-70); the Gred,aldhough used at a much tarlier time in the Movarabic, Ambrosian, and Callican rit, was not Geinitly introduced ino the Roman Mass until the eleventh century, under Pope Benedict VI (so). Considering this situation, itis no tronder that the chants of dhe Ordinary are completly absent in the Earliest manuscripts of Gregorian chant. ‘They fest appear sporadically ia fallections of tropes and sequences; later they form an appendix to the epertory ofthe Proper, and are usually given in separate divisions, ne fantaning the Kyrie, dhe next the Cloris ete a practice preserved tothe present cay forthe Credos. ‘Most i tall, of the items of the Ordinary originated inthe Eastern Greek Church (Byzantium). Except fr the Gloria, they were all originally sang by the congregation, a practice reflected in he simple syle ofthe fldest melodies. Later, inthe ninth century, they were taken over bythe Sehola (church choir) and, in consequence, melodies of a somevhat more laborate character appeited, The development and fixation of these chants remained largely an affair of individual churches or regional Authorities, dhe Church of Rome beng no longer intersted inthis mater Grable to exercise cnteol Asa result, during the later Middle Ages, there Scere a large repertory of chants for the Ordinary. An idea ofits sie fan be formed fom the fact that, according to recent research, there exis. most soo diferent melodie forthe gus Dei* Throughout this period ‘only sporadic efforts were made to combine specific melodies ino a fixed {le in other words, to form definite Ordinaries assigned to certain eate- soris of feasts se p20). The liturgical books ofthe present day conta eighteen such cycles; one for Paschal Time, one for Solemn Feast et ‘but most ofthese were not xed until the isuance ofthe Edito Vaticana, ‘in 1g08. Thus Pope Pius X, who authorized the publiation, may be sid to have played a similar role for the Ordinary ofthe Mass as did Pope Gregory I fr the Proper, thirteen hundred years ear ‘The present day group of Ordinaries includes one for Paschal Time, two {or Solemn Feast, five for Double Fass, two or Feasts of the Blesed Virgin, one for Sundays throughout the Yar, wo for Semi-doubles, one uring Octaves, one for Simple Feasts, one for Feriasdroughout the Year, ‘ne forthe Sundays of Avent and Lent, and one for the Feras throughout ‘Advent aed Lent, wih sx Gredos beng given separately [6 go} A note fn ps7 saysexprenly that “ths Ordinary isnot meant to bea mater of Jhard aa fas rule” and that “in oder to add greater solemnity, one or more of the following “Chants ad tbitun’ may be employed.” The names, such 8 Lux et orig, Kyrie ons bonitatis, ete given to ost of these Ordinaries and to the ad libitum Kyties, reer to Ue fact tha in the tenth and later ‘centuries the Kyrie melodies were provided with additional words, such 5th ae “AgnsDa (Sil a MCC.