| A | B |
|---|
| Josquin's Masses | Are equally varied as his motets and abound in technical ingenuity= Most use a secular tune as a cantus firmus |
| pg. 207 | pg. 207 |
| Josquin's "Missa Malheur me bat" | Illustrates new approach to basing a mass on a polyphonic work= Instead of using 1 voice as a cantus firmus, the composer borrows extensively from all voices of the model, reqorking the latter's characteristic motives, points of imitation, and general structure in each movement of the mass |
| Josquin: Basing mass on a motet or chanson | This approach is especially apt (i.e. the approach used when basing a mass on a polyphonic work [SEE ABOVE]) when basing a mass on a motet or chanson in the new, predominantly imitative or homophonic styles of the late 15th and 16th c. because in such works the tenor is not the main structural voice, and no voice would function well as a cantus firmus= Typically, resemblance to the model is strongest at the beginning and end of each movement, and composer's skill is shown by new combinations and variations he can achieve with the borrowed material |
| Imitation Mass | (aka Parody Mass) A mass composed in this manner [SEE ABOVE] Imitates another polyphonic work |
| 1520 | Around 1520, the imitation mass began to displace the cantus-firmus mass as the msot common type |
| Missa Pange Lingua | (Josquin) Represents another new type of mass...the PARAPHRASE MASS= is based on the plainchant hymn "Pange lingua gloriosi"...but instead of using the hymn melody as a cantus firmus, josquin paraphrased it in all 4 voices, in whole or in part, in each movement= Phrases from the hymn melody are adapted as motives that are treated in points of imitation or occasionally in homophonic declamation |
| Paraphrase Mass vs. Imitation mass | The sound of this mass resembles that of an imitation mass...featuring a series of independent phrases in imitative or homophonic textures without a structural cantus firmus= The 2 types of mass differ not in style..but in their source material...since the paraphrase mass elaborates a MONOPHONIC CHANT instead of a polyphonic model |
| Josquin: Chansons | The chansons of Josquin and others of his generation represent a new style= These composers ABANDONED the FORMES FIXES...choosing instead strophic texts and simple 4 or 5 line poems= Rather than 3 voices, most chansons now use 4 or 5, and all vocies are meant to be sung= Instead of layered counterpoint with the cantus-tenor pair providing the skeleton and the other voceis filling in, all the parts are now equal, and the texture is filled with imitation and homophony in varying degrees |
| pg. 209 | pg. 209 (Josquin's "Mille regretz") |
