Sekwencje mszalne – jedna z klasycznych form śpiewów postgregoriańskich

Abstract

European sequential creation has been researched since XIX c. medieval literature researchers are interested in the sequence as a genre that started and developer lyrical creation covering also poetic translations in native languages. As an element of mass liturgy – liturgist, as a separate music form – musicologists. Sequences belong to a new trend which appeared in the 9th Century. With time, the body of sequential works expanded to a significant size and because they were not always of high artistic level and the lyrics were trivial, they were reluctantly tolerated by the ecclesiastical authorities. That is why, after the Council of Trent, a lot of sequences were withdrawn from use. The Roman Missal of Pope Pius V (1570) included only four sequences: Victime Paschali Laudes, Veni Sancte Spitirus, Lauda Sion Salvatorem and Dies irae. In the 18th Century Stabat Mater was also included. Vatican Ecumenical Council II again reduced the number to only 2: Victime Paschali Laudes and Veni Sancte Spiritus. The research presents close genetic connection to singing Alleluia as the second melody. And although in time it became musically independent, it did not change its place in the mass service.