A mass-parody , or a parody mass in Western European music of the second half of the 15th - beginning of the 17th centuries is a type of polyphonic mass , which is characterized by a parody technique.
Content
Feature
By “parody” (cf. the general lexical meaning of the word and literary term ) is meant the exact quotation of someone else’s (less often own) fragment of polyphonic music - usually vocal, for example, someone else’s chanson (occasionally with lyrics of obscene content), someone else’s motet , fragment of someone’s mass [ 1] . When processing the original quote, the composer could turn off individual voices and / or ascribe his own new ones.
Historical essay
The initiator of the technique of mass-parody consider Josquin Depre ; examples of such masses in his work are “Malheur me bat”, “Mater Patris” and “Fortuna desperata”. A mass parody (on Tous les regretz’s own chanson) is also found in A. Brumel ’s mass at De Dringhs [2] . By the middle of the sixteenth century, the majority of mass authors used this technique, more often than others - Palestrina , in the masses of which there are more than 50 such quotes (for example, in the mass “Assumpta est Maria”). Among others - de Monte , Clement-not-Papa , Lasso , Morales , Victoria (Mass “O quam gloriosum”), Cermizi (“Missa plurium motetorum”, “Missa plurium modulorum”, etc.), Gombert , Ingenieri , Monteverdi ( Mass "In illo tempore") and others. After the ban on the use in church music of borrowed secular thematic material made by the Council of Trent in 1562, the number of mass parodies in Italy decreased, while in Germany there was no visible reaction of composers to this ban followed.
The parody technique was systematically described by the Italian music theorist P. Cerone in the voluminous treatise "El melopeo y maestro" (1613).
Notes
- ↑ The term “parody” in this sense was introduced into scientific usage by W. Ambros (1868) and supported P. Wagner in his famous work “History of the Mass” (1913). In historical documents (notes, musical and theoretical treatises) the Greek term was used along with the Latin imitatio (imitation); hence the synonym for parody mass, common in modern English-language science, is English. imitation mass . “Mass paraphrases” should be distinguished from mass parodies, in which only one bright phrase or motive of the original was cited, without further polyphonic elaboration.
- ↑ This mysterious title, written in Glarean in Greek letters, musicologists still could not decipher.
Literature
- Wagner P. Geschichte der Messe. Bd. 1: bis 1600. Leipzig, 1913.
- Steinecke W. Die Parodie in der Musik. Wolfenbüttel, 1934.
- Klassen J. Untersuchungen zur Parodiemesse Palestrinas // Kirchenmusikalisches Jahrbuch xxxvii (1953), SS.53–63.
- Klassen J. Das Parodieverfahren in der Messe Palestrinas // Kirchenmusikalisches Jahrbuch xxxviii (1954), SS.24-54.
- Heise M. Zum Wesen und Begriff der Parodiemesse des 16. Jahrhunderts. Diss., Univ. Innsbruck, 1956.
- Michael GA The parody mass technique of Philippe de Monte. Diss., New York Univ., 1958.
- Lockwood L. On "Parody" as term and concept in 16th-century music // Aspects of medieval and Renaissance music, ed. J. LaRue and others. New York, 1966, pp. 560–75.
- Orlich R. Die Parodiemessen von Orlando de Lassus. München, 1985.
- Sibley DJ Parody technique in the masses of Palestrina. Diss., Univ. of Nottingham, 1990.
- Waczkat A. Ein ehrenhaftes Spielen mit Musik. Deutsche Parodiemessen des 17. Jahrhunderts. Kassel: Bärenreiter, 2000. ISBN 3-7618-1484-4 .