TEXTURAL STRUCTURE AND MANNER OF EXECUTION IN SACRED CHORAL MUSIC

ABSTRACT. Leaver holds that in the medieval Mass the Canon was long, largely inaudible, and interpreted as a propitiatory sacrifice. Pesce remarks that, throughout Te Deum I, Liszt retains a modal flavor that is not regularly encroached upon by leading tones (only the middle section involves vocal harmony). According to Bailey, liturgy itself holds the answer and solution to the problem of assembly singing.