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.

169. A _libretto_ (lit.--little book) is the word-text of an opera, oratorio, cantata, or some other similar work.

170. _Recitative_ is a style of vocal solo common to operas, oratorios, and cantatas, especially those written some time ago. Its main characteristic is that the word-text is of paramount importance, both rhythm and tone-progression being governed by rhetorical rather than by musical considerations.

_Recitative_ undoubtedly originated in the intoning of the priest in the ritualistic service of the Church, but when applied to the opera it became an important means of securing dramatic effects, especially in situations in which the action of the play moved along rapidly. _Recitative_ is thus seen to be a species of musical declamation.

In the early examples of _recitative_ there was scarcely any accompaniment, often only one instrument (like the cello) being employed to play a sort of obbligato melody: when full chords were played they were not written out in the score, but were merely indicated in a more or less general way by certain signs and figures. (See "thorough-ba.s.s," p. 85, Sec. 200.)

But about the middle of the seventeenth century a slightly different style of _recitative_ was invented, and in this type the orchestra was employed much more freely in the accompaniment, especially in the parts between the phrases of the text, but to some extent also to support the voice while singing. This new style was called _recitativo stromento_ (_i.e._, accompanied recitative), while the original type was called _recitativo secco_ (_i.e._, dry recitative).

During the last century the style of _recitative_ has been still further developed by Gluck and Wagner, both of whom used the orchestra as an independent ent.i.ty, with interesting melodies, harmonies and rhythms all its own, while the vocal part is a sort of obbligato to this accompaniment. But even in this latest phase of _recitative_, it is the word-text that decides the style of both melody and rhythm in the voice part.

Fig. 61 shows an example of _dry recitative_, taken from "The Messiah."

[Ill.u.s.tration: ALTO VOICE. Be-hold! a vir-gin shall con-ceive, and bear a son, and shall call his name Em-man-u-el; G.o.d with us.]

171. _Aria_ is likewise a style of vocal solo found in operas, etc., but its predominating characteristic is diametrically opposed to that of the recitative. In the _aria_ the word-text is usually entirely subordinate to the melody, and the latter is often very ornate, containing trills, runs, etc.

The rendition of this ornate style of music is often referred to as "coloratura singing," but it should be noted that not all _arias_ are coloratura in style.

The familiar solos from The Messiah--"Rejoice Greatly," and "The trumpet shall sound" are good examples of the aria style.

172. A _lied_ (Ger. = song) is a vocal solo in which the text, the melody, and the accompaniment contribute more or less equally to the effect of the whole.

Strictly speaking the word _lied_ means "a poem to be sung,"

and this meaning will explain at once the difference between the _lied_ on the one hand, and the Italian recitative and aria on the other, for in the _lied_ the text is of great importance, but the music is also interesting, while in the recitative the text was important but the music very slight, and in the aria the text was usually inconsequential while the music held the center of interest.

The most p.r.o.nounced characteristic of the _lied_ is the fact that it usually portrays a single mood, sentiment, or picture, thus differing from the ballad, which is narrative in style. It will be noted that this "single mood, or sentiment, or picture" was originally conceived by the poet who wrote the word-text, and that the composer in writing music to this text has first tried to get at the thought of the poet, and has then attempted to compose music which would intensify and make more vivid that thought. This intensification of the poet's thought comes as often through the rhythm, harmony, and dynamics of the accompaniment as through the expressiveness of the voice part.

The style of song-writing in which each verse is sung to the same tune is called the "strophe form," while that in which each verse has a different melody is often referred to as the "continuous" or "through-composed" form (Ger.

durch-componiert).

173. A _ballad_ was originally a short, simple song, the words being in narrative style, _i.e._, the word-text telling a story. In the earlier _ballads_ each verse of the poem was usually sung to the same tune (strophe form), but in the _art-ballad_ as developed by Loewe and others the continuous style of composition is employed, this giving the composer greater opportunities of making vivid through his music the events described by the poem. These later _ballads_ are in consequence neither "short" nor "simple" but compare in structure with the lied itself.

174. A _folk-song_ is a short song sung by and usually originating among the common people. Its dominant characteristic is usually _simplicity_, this applying to word-text, melody, and accompaniment (if there is one).

The text of the _folk-song_ is usually based on some event connected with ordinary life, but there are also many examples in which historical and legendary happenings are dealt with. Auld Lang Syne, and Comin' thru the Rye, are examples of _folk-songs_.

There has been some difference of opinion as to whether a song, the composer of which is known, can ever const.i.tute a real _folk-song_: recent writers seem to be taking the sensible view of the matter, viz.: that if a song has the characteristics of a folk- rather than an art-song, and if it remains popular for some time among the common people, then it is just as much a _folk-song_ whether the composer happens to be known or not.

175. A _madrigal_ is a secular vocal composition having from three to eight parts. It is in contrapuntal style, like the motet, and is usually sung a capella.

176. A _glee_ is a vocal composition in three or more parts, being usually more simple in style than the madrigal, and sometimes having more than one movement. The _glee_ may be either gay or sad in mood, and seems to be a composition peculiar to the English people.

177. A _part-song_ is a composition for two or more voices, (usually four) to be sung a capella. It is written in monophonic rather than in polyphonic style, thus differing from the madrigal and glee. Morley's "Now is the Month of Maying" is an example of the _part-song_, as is also Sullivan's "O Hush Thee, My Baby." The term _part-song_ is often loosely applied to glees, madrigals, etc.

CHAPTER XVII