The Parody Mass and the Rethorical-Pedagogical Principle of Imitation

The Parody Mass and the Rethorical-Pedagogical Principle of Imitation

In the sixteenth century, composing a parody Mass was a means to pay tribute to an admired piece and master the composing techniques shown therein. The parody Mass is grounded on the principles of imitation and emulation, on which the whole Renaissance rhetoric is based. This article analyses the Mi...

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Bibliographic Details
Main Author: Marisi Rossella
Format: Article
Language:English
Published: Sciendo 2021-06-01
Series:Review of Artistic Education
Subjects:
imitative-style motet
palestrina
poetry
renaissance
visual arts
Online Access:https://doi.org/10.2478/rae-2021-0002
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spelling doaj-83c8c6d68e2c40ce987a997a9329a6bf2021-09-05T14:01:16ZengSciendoReview of Artistic Education2501-238X2021-06-01211121910.2478/rae-2021-0002The Parody Mass and the Rethorical-Pedagogical Principle of ImitationMarisi Rossella0Lecturer PhD., Conservatorio “Lorenzo Perosi” from Campobasso, Accademia di Belle Arti from Bologna, ItalyIn the sixteenth century, composing a parody Mass was a means to pay tribute to an admired piece and master the composing techniques shown therein. The parody Mass is grounded on the principles of imitation and emulation, on which the whole Renaissance rhetoric is based. This article analyses the Missa Quem dicunt homines by Palestrina. It stresses that in the Renaissance a musician could choose to compose a parody Mass, instead of a Mass on cantus firmus, not only to go towards the taste of his clients, and to suit his own preferences, but also to adhere to a certain rhetorical-pedagogical school of thought.https://doi.org/10.2478/rae-2021-0002imitative-style motetpalestrinapoetryrenaissancevisual arts
collection DOAJ
language English
format Article
sources DOAJ
author Marisi Rossella
spellingShingle Marisi Rossella
The Parody Mass and the Rethorical-Pedagogical Principle of Imitation
Review of Artistic Education
imitative-style motet
palestrina
poetry
renaissance
visual arts
author_facet Marisi Rossella
author_sort Marisi Rossella
title The Parody Mass and the Rethorical-Pedagogical Principle of Imitation
title_short The Parody Mass and the Rethorical-Pedagogical Principle of Imitation
title_full The Parody Mass and the Rethorical-Pedagogical Principle of Imitation
title_fullStr The Parody Mass and the Rethorical-Pedagogical Principle of Imitation
title_full_unstemmed The Parody Mass and the Rethorical-Pedagogical Principle of Imitation
title_sort parody mass and the rethorical-pedagogical principle of imitation
publisher Sciendo
series Review of Artistic Education
issn 2501-238X
publishDate 2021-06-01
description In the sixteenth century, composing a parody Mass was a means to pay tribute to an admired piece and master the composing techniques shown therein. The parody Mass is grounded on the principles of imitation and emulation, on which the whole Renaissance rhetoric is based. This article analyses the Missa Quem dicunt homines by Palestrina. It stresses that in the Renaissance a musician could choose to compose a parody Mass, instead of a Mass on cantus firmus, not only to go towards the taste of his clients, and to suit his own preferences, but also to adhere to a certain rhetorical-pedagogical school of thought.
topic imitative-style motet
palestrina
poetry
renaissance
visual arts
url https://doi.org/10.2478/rae-2021-0002
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