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As musical fashions changed, however, there was little cause to re-use old modal tunes and compositional styles. [5] After the middle of the 17th century, composers sought to create "a unique musical treatment appropriate to the text and the circumstances of performance". [5] Thereafter the serious parody became rare until the 20th century. [6]
Silence! The Musical; Simpsoncalifragilisticexpiala(Annoyed Grunt)cious; South Park: Bigger, Longer & Uncut; Spamilton; Spank! The Fifty Shades Parody; Stars Over 45; Steamroller Blues; The Stoned Guest; Stutter Rap (No Sleep til Bedtime)
The quodlibet took on additional functions between the beginning and middle of the 19th century, when it became known as the potpourri and the musical switch.In these forms, the quodlibet would often feature anywhere from six to fifty or more consecutive "quotations"; the distinct incongruity between words and music served as a potent source of parody and entertainment. [4]
The original use of the term "parody" in music referred to re-use for wholly serious purposes of existing music. In popular music that sense of "parody" is still applicable to the use of folk music in the serious songs of such writers as Bob Dylan, but in general, "parody" in popular music refers to the humorous distortion of musical ideas or lyrics or general style of music.
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Many use unusual lyrics, subjects, sounds, or instrumentation, and may not even be musical. For example, the 1966 novelty song "They're Coming to Take Me Away, Ha-Haaa!", by Napoleon XIV, has little music and is set to a rhythm tapped out on a snare drum, a tambourine, and the bare sides of the musicians' legs.
Parody music in the truest sense is a type of work that seriously imitates a well-known original and simultaneously covertly satirizes the environment of which that original is a part (compare, pastiche which does not perform the latter and is conflated with "homages") while at worst is copying an original composition for a "parodic effect" only.
In the sense considered here, the term parody mass applies to masses where a polyphonic fragment from another work is used as the basis of a new composition. The term imitation mass has been suggested instead of parody mass, as being both more precise and closer to the original usage, since the term parody is based on a misreading of a late 16th-century text. [1]