Information about Parody Mass
A parody mass is a musical setting of the mass, typically from the 16th century, that uses multiple voices of another pre-existing piece of music, such as a fragment of a motet or a secular chanson, as part of its melodic material. It is distinguished from the two other most prominent types of mass composition during the Renaissance, the cantus firmus and the paraphrase mass. "Parody" often has nothing to do with humor, as in the modern sense of the word; while in some cases bawdy secular songs were indeed used in composition of masses, equally often non-liturgical sacred music such as motets formed the basis for parody masses. Instead of calling it a "parody mass", the term "Imitation mass" has been suggested as being both more precise and closer to the original usage, since the term "parody" is based on a misreading of a late 16th century text.[1]
The parody mass was a very popular model during the Renaissance: Palestrina alone wrote some 50-odd examples, and by the first half of the 16th century this style was the dominant form. The Council of Trent, in a document dated September 10, 1562, banned the use of secular material, "...let nothing profane be intermingled ... banish from church all music which contains, whether in the singing or the organ playing, things that are lascivious or impure." [2]. However the reforms were most carefully followed only in Italy; in France, a change in taste had already brought about many of the wishes of the members of the Council, and in Germany they were largely ignored.
In its usual definition, the term parody mass only applies to masses where a polyphonic fragment is used. Masses incorporating only one voice of the polyphonic source, treated not as a cantus firmus but elaborated and moving between different parts, are known as paraphrase masses.
Parody techniques include adding or removing voices from the original piece, adding fragments of new material, or only using the fragment at the beginning of every part of the mass. In his colossal 22-volume El melopeo y maestro of 1613, Italian music theorist Pietro Cerone gave some general guidelines for writing a parody mass: each of the main sections of the mass should start with the beginning of the source; the interior section of the Kyrie should use a secondary motive; and some portions, for example the second and third Agnus Dei, should not be chained to the model but be freely composed. He also recommended using as many subsidiary musical ideas from the model as possible.[3]
Some examples of early parody masses include the Missa Malheur me bat, Missa Mater Patris, and Missa Fortuna desperata of Josquin Desprez, and the Missa de Dringhs by Antoine Brumel. By the middle of the 16th century, a high percentage of all masses composed used the parody technique.
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The parody mass was a very popular model during the Renaissance: Palestrina alone wrote some 50-odd examples, and by the first half of the 16th century this style was the dominant form. The Council of Trent, in a document dated September 10, 1562, banned the use of secular material, "...let nothing profane be intermingled ... banish from church all music which contains, whether in the singing or the organ playing, things that are lascivious or impure." [2]. However the reforms were most carefully followed only in Italy; in France, a change in taste had already brought about many of the wishes of the members of the Council, and in Germany they were largely ignored.
In its usual definition, the term parody mass only applies to masses where a polyphonic fragment is used. Masses incorporating only one voice of the polyphonic source, treated not as a cantus firmus but elaborated and moving between different parts, are known as paraphrase masses.
Parody techniques include adding or removing voices from the original piece, adding fragments of new material, or only using the fragment at the beginning of every part of the mass. In his colossal 22-volume El melopeo y maestro of 1613, Italian music theorist Pietro Cerone gave some general guidelines for writing a parody mass: each of the main sections of the mass should start with the beginning of the source; the interior section of the Kyrie should use a secondary motive; and some portions, for example the second and third Agnus Dei, should not be chained to the model but be freely composed. He also recommended using as many subsidiary musical ideas from the model as possible.[3]
Some examples of early parody masses include the Missa Malheur me bat, Missa Mater Patris, and Missa Fortuna desperata of Josquin Desprez, and the Missa de Dringhs by Antoine Brumel. By the middle of the 16th century, a high percentage of all masses composed used the parody technique.
References
- Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
- Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 0-89917-034-X
- Lewis Lockwood, "Mass." The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
- The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ISBN 0-674-61525-5
Notes
This article discusses the Mass as a standard form of classical music composition. For the Mass and its meaning as a part of the Eucharistic liturgy of the Roman Catholic Church, see Mass (liturgy). For mass as a concept in physics, see mass.
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In Western music, motet is a word that is applied to a number of highly varied choral musical compositions.
The name comes either from the Latin movere, ("to move") or a Latinized version of Old French mot, "word" or "verbal utterance.
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The name comes either from the Latin movere, ("to move") or a Latinized version of Old French mot, "word" or "verbal utterance.
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Chanson (French for "song") refers to any song with French words, but more specifically classic, lyric-driven French songs, European songs in the cabaret style, or a diverse range of songs interpreted in this style.
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Renaissance music is European music written during the Renaissance, approximately 1400 to 1600. Defining the beginning of the era is difficult, given the lack of abrupt shifts in musical thinking during the 15th century.
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In music, a cantus firmus ("fixed song") is a pre-existing melody forming the basis of a polyphonic composition.
The plural of this Latin term is cantus firmi, though one occasionally sees the corrupt form canti firmi.
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The plural of this Latin term is cantus firmi, though one occasionally sees the corrupt form canti firmi.
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paraphrase mass is a musical setting of the Ordinary of the mass, using as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source.
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Renaissance (French for "rebirth"; Italian: Rinascimento; Spanish: Renacimiento), was a cultural movement that spanned roughly the 14th through the 17th century, beginning in Italy in the late Middle Ages and later spreading to the rest of Europe.
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Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526[1] - 2 February, 1594) was an Italian composer of the Renaissance. He was the most famous sixteenth-century representative of the Roman School of musical composition.
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The Council of Trent was the 19th Ecumenical Council of the Catholic Church. It was convened three times between December 13, 1545 and December 4, 1563 in the city of Trent (modern Trento, Trentino) as a response to the theological and ecclesiological challenges of the
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polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony).
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paraphrase mass is a musical setting of the Ordinary of the mass, using as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source.
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Pietro Cerone (1566–1625) was an Italian music theorist, singer and priest of the late Renaissance. He is most famous for an enormous music treatise he wrote in 1613, which is useful in the studying compositional practices of the 16th century.
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Josquin des Prez (c. 1450 to 1455 – August 27, 1521), often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. He is also known as Josquin Desprez
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Antoine Brumel (c. 1460 – 1512 or 1513) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin Desprez, was one of the most influential composers of his generation.
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Gustave Reese (b. November 29 1899, New York City –- d. September 7 1977, Berkeley, California) was an American musicologist and teacher. Reese is mainly known for his work on medieval and Renaissance music, particularly with his two publications
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