[+] Lockwood, Lewis. "A View of the Early Sixteenth-Century Parody Mass." In Queen's College Department of Music Twenty-Fifth Anniversary Festschrift (1937-1962), ed. Albert Mell, 53-77. New York: Queen's College Press, 1964.
About 1500 there occurred a change of model for the Mass from chanson to motet. This change was due in part to the significant output of motet types. The rising importance of the text in the motet caused composers to be alert to the opportunity of drawing upon text associations to generate certain musical procedures in the Mass. In addition, the importance given to the text caused composers to think and write motivically. This type of motivic construction, not present in the 15th century, was crucial to the development of the 16th-century parody Mass.
Works: Claudin: Missa Domine quis habitat (57); Gombert: Missa Sancta Maria (57); Therache: Missa Quem dicunt homines (57); de Hondt: Missa Benedictus Dominus (57); Obrecht: Missa Rosa playsant (58): Josquin: Missa D'ung aultre amer (58): Barbingant: Missa Terribilment (62); Obrecht: Missa Ave Regina (63), Missa Si didero (63); Josquin: Missa Mater Patris (63): Févin: Missa Mente tota (64), Missa Ave Maria (64); Mouton: Missa Quem dicunt homines (64); Divitis: Missa Quem dicunt homines (64).
Index Classifications: 1500s
Contributed by: Sergio Bezerra
