[+] Gudmundson, Harry Edwin. "Parody and Symbolism in Three Battle Masses of the Sixteenth Century." Ph.D. diss., University of Michigan, 1976.
Three battle Masses, Janequin's Missa La Bataille, Guerrero's Missa De la batalla escoutez, and Victoria's Missa pro Victoria, are based on Janequin's chanson La Bataille escoutez or La Guerre, and motives from or references to the model are shown to appear throughout the movements of all three. Transcriptions of the Masses by Janequin and Guerrero appear in the appendix.
Works: Janequin: Missa La Bataille (48-131, 251-94); Guerrero: Missa De la batalla escoutez (132-96, 295-348); Victoria: Missa pro Victoria (197-241).
Index Classifications: 1500s
Contributed by: Alfredo Colman
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
Individual record
[+] Stinson, Russell. "Three Organ-Trio Transcriptions from the Bach Circle: Keys to a Lost Bach Chamber Work." In Bach Studies, ed. Don O. Franklin, 125-59. Cambridge: Cambridge University Press, 1989.
Bach's organ trios are divided into three categories: free works, chorale settings, and transcriptions. It is likely that three organ transcriptions, the Trio in G Major, BWV 1027a, and two trios not listed in the Schmieder catalogue, are not by Bach, although they are crucial to the understanding of a possible lost Bach chamber work. Stinson shows how these transcriptions rework the Bach originals and suggests names of Bach's contemporaries who could have been responsible for these transcriptions.
Index Classifications: 1700s
Contributed by: Alfredo Colman
Individual record
