Missa Brevis incorporates elements found in traditional mass settings from the Middle Ages and Renaissance, such as cantus firmus, isorhythm, canon, and hocket. In addition to 24 solo voices, the work calls for various small instruments (handbells, ocarinas, etc.) which are played by the vocalists.

In the Kyrie, the twelve-tone cantus firmus (presented in three sections) unfolds into dense clusters, accompanied by various textual sounds and set off by the tolling of handbells. Four solo voices continue the cantus firmus into the Gloria (each in a different permutation of the row) while the remainder of the ensemble vigorously chants the text. The Credo is presented canonically in the form of a group prayer, the text being passed through the entire ensemble while accompanied by ocarinas. The Sanctus is essentially an extended hocket that makes use of various extended vocal techniques and the miscellaneous auxiliary instruments. In the Agnus Dei, the pitches of the cantus firmus (in four permutations) are presented homophonically: as in the opening Kyrie, each of the three sections builds into a dense cluster and is set off by handbells, which conclude the work.

Missa Brevis was composed in February and March of 1987 and is dedicated to Charles Lindsley and the Kellogg Chamber Singers, who first performed the work in May of 1989 at California State Polytechnic University, Pomona.