[+] Ward, John M. "Parody Technique in Sixteenth-century Instrumental Music." In Commonwealth of Music, in Honor of Curt Sachs, ed. Gustave Reese and Rose Brandel, 208-28. New York: Free Press, 1965.
Parody in sixteenth-century instrumental music is a variation device making use of a pre-existing, fully realized composition. Two types exist: one in which quotation and paraphrase are mixed but are presented in the same sequence as the model, and another in which thematic material is freely elaborated without regard to the structure of the model.
Works: Giuolio Severino: Fantasia . . . sopre Susane un jour (209-12); Vincenzo Galilei: Fantasia sopra Anchor che col partire (212-14); Melchior Neusidler: Fantasia super Anchor che col partire (212-14); Nicolas de la Grotte: Fantasia sopra Anchor che col partire (212-14); Antonio de Cabezón: Tiento sobre Malheur me bat (215-16); Enriquez de Valderróbano: Fantasía remediando en algunos pasos al Aspice de Gombert (216-17); Giovanni Paolo Paladino: Fantasie sur la ditte chanson (216, 218); Francesco Spinacino: Recercare a Juli amours (219-21); Luys de Narváez: Fantasía del primer tono por ge sol re ut (222, 224-25); Albert de Rippe: Fantasie (222, 224-25).
Sources: Orlando di Lasso: Susanne un jour (209-12); Cipriano de Rore: Anchor che col partire (212-14); Johannes Ockeghem: Malor me bat (215-16); Nicolas Gombert: Aspice Domine (216-17), Tu pers ton temps (222, 224-25); Jacob Arcadelt: Quand' io pens' al martire (216, 218); Hayne van Ghizeghem: Joli amours (219-21).
Index Classifications: 1500s
Contributed by: Felix Cox
