It is difficult to define the term "parody mass," because it encompasses a technique that underwent great development throughout the 15th and 16th centuries. This article discusses and illustrates this growth through the works of Netherland composers of this time period. The development of parody techniques begins with mass composers such as Barbingant and Josquin, who focused primarily on the melodic elements of their original source and composed works with techniques similar to that of cantus firmus masses, and continues with composers such as de la Rue, who borrowed small polyphonic fragments from the original, and later Monte, who incorporated larger, more polyphonic structures from the source, often in conspicuous places.

Works: Barbingant: Missa Terriblement suis fortunée (412); Pierre de la Rue: Missa à 6 Ave Sanctissima Maria (413-14); Josquin: Missa Fortuna desperata (415), Missa Malheur me bat (415), Missa Una musque de Buscava (415); Monte: Missa Reviens vers moi (418), Missa a 5 Cara la vita mia (418); Lassus: Missa Entre vous filles de quinze ans (417); Willaert: Missa Mente tota (416).

Index Classifications: 1500s

Contributed by: Paula Ring Zerkle