複合唱的創作概念曾在十六世紀的教會作曲家們中蔚為風潮，我們可從托馬斯‧塔利斯 (Thomas Tallis, 1505-1585) 在1570年左右創作的《寄希望於上主》(Spem in alium) 看到此創作概念的極致，這部作品可稱上是文藝復興時期最大和最流行的曲目之一，其編制由八個各自擁有五聲部的合唱團所組成。雖然我們尚未能確認複合唱風格的來源，但此風格曾在北義大利作曲家們之間蔚為風潮，並將其運用於多所教堂，其中包含威尼斯聖馬可教堂，因此複合唱風格又稱為「威尼斯複合唱風格」。
本論文將討論天主教會中的儀式以及彌撒的固定部分。以萊茵貝格爾 (Josef Rheinberger, 1839-1901) 以及佛漢•威廉士 (Ralph Vaughan Williams, 1872-1958) 的雙合唱彌撒為例，從歷史背景和音樂分析的角度切入，深度剖析探討以複合唱風格寫作之彌撒固定部分的發展。最後，藉由創作《光輝彌撒曲》去實踐複合唱風格以及在其中加入現代音樂的元素。
筆者希望藉由使用傳統手法，藉由探究其可能性，去創造一個融合古典及現代合唱架構的人聲聲景，願為教會音樂提供一個新穎的創作理念。

Polychoral music was once popular among the sixteenth-century church composers, as we can find in one of the biggest and most popular Renaissance motets written by Thomas Tallis (1505-1585) in around 1570, Spem in alium, which is written for eight choirs of five voices each. Although it was unclear where the polychoral style was invented in, it was popular among the composers in the northern Italy and used in the churches including the San Marco di Venezia, thus also called as ‘the Venetian polychoral style’.
This thesis will explain about the Catholic church liturgy and the mass ordinary. It will also discuss about the development of mass ordinary in polychoral style from the perspective of historical context and music analysis by taking example of and furthermore looking deeper to a double choir mass setting composed by Josef Rheinberger (1839-1901) and Ralph Vaughan Williams (1872-1958).
Finally, practising the polychoral style through the composed practice work Mass of Light and adding the contemporary music elements into it. I hope to present an original idea of church music by utilising traditional method, exploring the possibility to create a human-voice based soundscape, a mixture between the classic and contemporary music in a choir setting.

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