Noah Kayser-Hirsh

10/25/16
MUSI 246
Essay II
The Parody Mass
Throughout the sixteenth century composers looked for new models to base their masses
on. Preexisting polyphonic works quickly became one of the most popular models to use.
Composers reincorporated and reworked the polyphony of all voice parts of a polyphonic model
in a genre called the parody mass. A clear example of the parody mass is Tomas Luis de
Victorias Missa O Quam Gloriosum. By examining the Kyrie and Agnus Dei of the mass sideby-side with Victorias motet (O Quam Gloriosum) we can discover some of the techniques
Victoria uses to incorporate preexisting polyphony into a new compositional work.
Nearly all of Kyrie I (mm. 1-8) is represented in the motet by Phrase B beginning on in
quo cum, (mm. 10-16), the only significant change being a slight difference in the cadence of
the Kyrie I (mm. 9-11). Victoria draws the Kyrie nearly note for note from this section of the
motet, with slight alterations in decorative figures and changes in
rhythm that account for the differences in syllables between the two
texts. For example, in measure 5 of the Kyrie I, the Cantus has two half notes, whereas the motet
employs a more decorative rhythm. The cadence in the Kyrie I is slightly different than the
cadence from the motet. Both phrases cadence going from the subdominant of G (C) to the
dominant of G (D) and finally to G. However, while the Kyrie prepares the subdominant with an
F chord, the motet simply spends a whole measure on C before moving to D and then G.

The Christe employs a sequence that is first heard in the Altus line. The sequence begins
on the last beat of the m. 1 of the Christe on B natural and consists of two ascending half notes
followed by 4 descending quarter notes and then another two ascending half notes. This sequence
is repeated in the
after it begins in
is written starting
this time. It is
Tenor exactly one
begins in the
again in the

Mass
Kyrie I
mm. 1-8
mm. 911
Christe
mm. 1-9
mm. 1011
Kyrie II
mm. 1-4

after it begins in
sequence is also
Phrase F,
cumque in m.
the motet is not
Altus line
rather is
Bassus beginning
introduction of
motet is also the
measure phrase

m. 5
mm. 611
mm. 1215
Agnus
Dei
mm. 1-3
mm. 4-9
mm.
12
mm.
17
mm.
27
mm.
32

1013-

Model
Second half of Phrase B (in
quo to last in quo)
Free (unrelated to model)

Bassus just one beat

the Altus, however it
on E rather than B
then repeated in the

Phrase F (quo cumque to

fifth bar from end)
Free

measure after it
Bassus, and then
Bassus one measure

First half of Phrase E (first

sequuntur agnum in Bassus)
Free
Second half of Phrase E
(second sequuntur agnum in
Bassus)
Free

the Tenor. This

found in the motet in
beginning on quo
47. The sequence in
introduced in the

Free
First half of Phrase B
(regnum)
Free

18-

End of Phrase B (last two in

quo in Bassus)
Phrase E

28-

Free

beginning on B, but
introduced in the
on E. The
the sequence in the
introduction of a 10
that is almost

exactly paralleled by the Christe in the mass. There are a few differences between the phrases,
most being slight changes in rhythm to reflect syllabic differences in the texts. There is a

noticeable difference between the cadence of the motet and the cadence of the mass because the
mass cadences on D, while the motet cadences on G. In the motet, after the phrase that is
paralleled in the Christe, there is a D major chord (m. 55) followed by a 4 bar cadence ending on
G, with a G pedal tone in the Cantus line. In the mass, instead of a D
major chord, there is an A major 7 chord in second inversion that
interestingly does not include an A (Christe m. 10). The Christe then finishes on a D major chord.
The Kyrie II from the mass is closely paralleled in the motet in phrase E, beginning on
sequuntur agnum (m. 36). The Bassus in both the motet and mass follows a sequential pattern.
Using mostly whole notes with one dotted half and one quarter note, the line descends from G to
G. In the motet the line is sung on sequuntur agnum and in the mass on Kyrie eleison. This
line is repeated again in the motet after the Bassus rests for 8 beats. In the mass however, the
Bassus repeats the line after resting for 12 beats. In the motet,
the Tenor begins the phrase on the pickup to m. 36, but in the
mass the Tenor rests for the opening measure (Kyrie II m. 1). Besides this opening, the Tenor,
Altus, and Cantus of the Kyrie II follow mm. 36-45 of the motet, differing on some rhythms to
account for textual differences.
The second half of the Agnus Dei (mm. 18-27), starting on miserere, is almost an exact
copy of Phrase E (mm. 36-45) in the motet, and of the Kyrie II. There are some minor
discrepancies due to textual differences, but the lines all follow the same melodic shape and
almost identical rhythms. The line again
uses the
descending sequence in the Bassus.

The first half of the Agnus Dei is drawn from phrase B of the motet, starting on
regnum (m. 6). Victoria does not copy the line from the motet note for note, rather the line in
the mass is more rhythmically complex. The harmonic shape parallels the motet, but there are
passing tones and other ornamental figures that are not found in the motet. The mass breaks from
the model of the motet in mm. 10-12, before returning cadencing as phrase B does in the motet.