Musical Borrowing
An Annotated Bibliography

Individual record

[+] Franke, Veronica. "Borrowing Procedures in the Late-16th-Century Imitation Masses and Their Implications for Our View of 'Parody' or 'Imitation.'" Studien zur Musikwissenschaft 46 (1998): 7-33.

As the sixteenth century progressed, imitation technique moved away from the restructuring of motivic complexes toward a manipulation of texture and sonority built increasingly on the bass part. Borrowed voices are freely manipulated, and may appear in different registers and order. Borrowing of multiple voices may be taken from well within, rather than at the beginning of, points of imitation, thus de-emphasizing the polyphonic origins of the borrowing. An increasing polarization is seen toward the outer voices. The concern of the composer shifts from the horizontal line to the vertical intervallic structure, with added emphasis on vocal orchestration and tonal contrast. This suggests an additional category of mass settings derived from polyphonic sources: "imitation masses emphasizing vertical structures, governed by a structural bass."

Works: Giovanni Pierluigi da Palestrina: Missa Tu es Petrus (12-16), Missa Laudate Dominum (16-18), Missa Ascendo ad Patrem (19-21); Phillipp de Monte: Missa La dolce vista (22-26); Orlando de Lassus: Missa Osculetur me osculo (26-30); Costanzo Porta: Missa Descendit angelus (30-31).

Sources: Giovanni Pierluigi da Palestrina: Tu es Petrus (12-16), Laudate Dominum (16-18), Ascendo ad Patrem (19-21); Phillipp de Monte: La dolce vista (22-26); Orlando de Lassus: Osculetur me osculo (26-30); Hilaire Penet: Descendit angelus (30-31).

Index Classifications: 1500s

Contributed by: Felix Cox

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