on the Continent
1. The musical style of the Mass Ordinary in the early sixteenth century was redefined as a result of the multiple borrowings from a single polyphonic model PerMR 582
a) "Models began to be chosen from the motet repertory"
(1) This was particularly true where the popular styles of writing had been developed, thus adding a bit of evidence for a liturgical link between Mass and motet
(2) The motet offered a substitute for the cantusflrmus melody
(a) Fifteenth-century compo»en h»d done lome experimenting with this
2. The Mass Propers continued to attract the attention of composers until the end of the sixteenth century PerMR, 591
a) Usually they were taken as individual texts and set in the manner of the motet
b) There was very little indication as to whether they were actually intended for liturgical use
(1) Sometimes they were set as motets for liturgical use, but with no explicit indication as to their intended function
(a) They may have been written for devotional or processional use
3. The use of polyphony in the liturgy for the Office became more common during this period PerMR, 451
a) There was an increase in settings for Magnificats, Psalms, and hymns
(1) The increase in these three categories suggest that polyphonic performance at Vesper services on major feast days was a matter of course for musical chapels
b) There were also other settings of canonical texts, although the number of compositions for some of these remained relatively small
(1) They include "the Te Deum (traditionally sung at the end of Lauds but also as a hymn of thanksgiving on any special occasion), the Lamentations of Jeremiah (sung at Matins during Holy Week), and the Passions (also sung during Holy Week as Gospel lessons at Mass)"