<P> The paraphrase technique differs from the cantus - firmus technique in that the source material, though it still consists of a monophonic original, is embellished, often with ornaments . As in the cantus - firmus technique, the source tune may appear in many voices of the mass . </P> <P> Several of Josquin's masses feature the paraphrase technique, and they include some of his most famous work including the great Missa Gaudeamus . The relatively early Missa Ave maris stella, which probably dates from his years in the Sistine Chapel choir, paraphrases the Marian antiphon of the same name; it is also one of his shortest masses . The late Missa de Beata Virgine paraphrases plainchants in praise of the Virgin Mary; it is a Lady Mass, a votive mass for Saturday performance, and was his most popular mass in the 16th century . </P> <P> By far the most famous of Josquin's masses using the technique, and one of the most famous mass settings of the entire era, was the Missa pange lingua, based on the hymn by Thomas Aquinas for the Vespers of Corpus Christi . It was probably the last mass that Josquin composed . This mass is an extended fantasia on the tune, using the melody in all voices and in all parts of the mass, in elaborate and ever - changing polyphony . One of the high points of the mass is the et incarnatus est section of the Credo, where the texture becomes homophonic, and the tune appears in the topmost voice; here the portion which would normally set "Sing, O my tongue, of the mystery of the divine body" is instead given the words "And he became incarnate by the Holy Ghost from the Virgin Mary, and was made man ." </P> <P> In parody masses, the source material was not a single line, but an entire texture, often of a popular song . Several works by Josquin fall loosely into this category, including the Missa Fortuna desperata, based on the three - voice song Fortuna desperata (possibly by Antoine Busnois); the Missa Malheur me bat (based on a chanson variously ascribed to Obrecht, Ockeghem, or, most likely, Abertijne Malcourt); and the Missa Mater Patris, based on a three - voice motet by Antoine Brumel . The Missa Mater Patris is probably the first true parody mass to be composed, for it no longer contains any hint of a cantus firmus . Parody technique was to become the most usual means of mass composition for the remainder of the 16th century, although the mass gradually fell out of favor as the motet grew in esteem . </P>

Who composed the pange lingua mass for the sistine chapel choir in about 1513
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