Aj. Orlando Di Lasso's Missa Ad Imitationem Moduli Doulce
379 A/8/J /AJ. ORLANDO DI LASSO'S MISSA AD IMITATIONEM MODULI DOULCE MEMOIRE: AN EXAMINATION OF THE MASS AND ITS MODEL DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfilment of the Requirements For the Degree of Doctor of Musical Arts By Jan Hanson Denton, Texas August, 1986 d • i Hanson, Jan L., Orlando di Lasso's Missa Doulce Memoire: An Examination of the Mass and Its Model, Doctor of Musical Arts (Conducting), August, 19b6, pp. 33, 3 figures, 10 examples, bibliography, 37 titles. Orlando di Lasso is regarded as one of the great polyphonic masters of the Renaissance. An international composer of both sacred and secular music, his sacred works have always held an important place in the choral repertory. Especially significant are Lasso's Parody Masses, which comprise the majority of settings in this genre. The Missa Ad Imitatiomem Moduli Doulce Memoire and its model, the chanson Doulce Memoire by Sandrin, have been selected as the subject of this lecture recital. In the course of this study, the two works have been compared and analyzed, focusing on the exact material which has been borrowed from the chanson. In addition to the borrowed material, the longer movements, especially the Gloria and the Credo, exhibit considerable free material. This will be considered in light of its relation to the parody sections. Chapter One gives an introduction to the subject of musical parody with definitions of parody by several contemporary authors. In addition, several writers of the sixteenth century, including Vicentino, Zarlino, Ponzio, and Cerone are mentioned.
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