Musical Borrowing
An Annotated Bibliography

Individual record

[+] Pruett, Lilian Pibernik. "Parody Technique in the Masses of Constanza Porta." In Studies in Musicology: Essays in the History, Style, and Bibliography of Music in Memory of Glen Haydon, ed. James W. Pruett, 211-28. Chapel Hill: University of North Carolina Press, 1969.

Of the fifteen known Masses by Porta, six are freely composed, six are cantus firmus Masses, and three are parody Masses. It is possible that some of the freely composed Masses are parodies of unidentified models. Following a comparison between Palestrina's and Porta's borrowing techniques, five of Porta's parody Masses are presented in detail: Missa Secundi toni, based on Palestrina's madrigal "Vestiv' i colli"; Missa Tertii toni, on Rore's madrigal "Com' havran fin le dolorose tempre"; Missa Descendit angelus, on a motet by Hilaire Penet; Missa Quemadmodum, on an unidentified model; and Missa Audi filia, on a five-voice motet by Gombert. The essence of Porta's borrowing technique lies in extraction of motives from the model; literal use of the borrowed motives, most frequently in the bass; modification of the motives by melodic and rhythmic alteration, telescoping, and fragmentation; imitation in all or some voices; and simultaneous exploitation of all the voices of the model.

Works: Porta: Missa Secundi toni (214-16), Missa Tertii toni (214, 216-17), Missa Audi filia (217-20, 225), Missa Descendit angelus (912-25), Missa Quemadmodum (225-26, 228).

Index Classifications: 1500s

Contributed by: Alfredo Colman

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