Parody occurs if at least two voices from a polyphonic composition are borrowed simultaneously. Monte avoids exact quotation except at the beginning of a movement, treating the material with increasing freedom as the Mass unfolds. He reworks not only individual strands but the whole polyphonic complex, thus making it unrecognizable. The adjustments include a great variety of techniques. (1) A discrepancy in the number of syllables between model and Mass and the observation of correct accentuation may require rhythmic changes. (2) Monte simplifies a melody by omitting non-essential notes, or he elaborates it by introducing passing and auxiliary notes. (3) The composer often alters the polyphonic organization of his models, changing the number of imitative entries and rearranging them horizontally and vertically. (4) Encompassed under the label "development" are techniques such as the vertical combination of two subjects from the model, the borrowing of a polyphonic complex while adding a free part, and the construction of a longer imitative section based on an insignificant motive of the model. The fact that Monte borrows from composers such as Palestrina, Striggio, Wert, and Lassus shows a predominant interest in works of his contemporaries.

Works: Monte: Missa Cara la vita mia (49, 67, 78, 88, 141, 143), Missa Ancor che col partire (50, 63, 83, 101, 135, 154, 172), Missa Inclina cor meum (54, 89, 92, 103, 128, 154), Missa Quando lieta sperai (56, 66, 69, 75, 78, 96, 99, 115, 145, 154, 171), Missa Nasce la pena mia (58, 66, 69, 137, 151, 154), Missa Quam pulchra es (61), Missa Ultima miei sospiri (69), Missa La dolce vista (71, 85, 107, 147, 152), Missa Aspice domine (90, 109, 123, 139, 153), Missa Benedicta es coelorum regina (95), Missa Reviens vers moy (97, 107, 113, 153), Missa Cum sit omnipotens rector Olympi (107, 117, 146, 154), Missa O altitudo divitiarum (138, 140, 153, 155), Missa Ma cueur se recommande a vous (149), Missa Vestiva i colli (152, 155), Missa Confitebor tibi Domine (154).

Index Classifications: 1500s

Contributed by: Andreas Giger