A Study of Parody Settings Based on a French Chanson "Je Suis Desheritee

Abstract

Collections of polyphonic vocal compositions were an important component of the catalogues of music publishers in the Renaissance. Important collections of original works, as well as arrangements of previously issued compositions, were printed and reprinted, often in different cities and by different firms, to accommodate the popular demand for music to sing in venues both traditional and new. Although this demand is not the sole force behind the process known as parody technique, new versions of popular compositions were in constant demand. This dissertation explores the numerous elaborations, both sacred and secular, based on the chanson Je suis desheritee from its initial publication in 1534 through the early 17th century. A total of twenty-two versions of the chanson (10 a4, 2 a2, 5 a3, 1 a5, and 4 a6) and six parody Masses (by Maillard, Guyon, De Marle, Gombert, Palestrina, and Lasso) are analyzed (and in some cases transcribed) to identify organizational and compositional similarities. The dissertation also attempts to determine the particular source used for each of these derivative compositions.