After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imi "Crook's study contains a wealth of detail, and its significance reaches beyond the narrow confines that its title might suggest.... The study is an important contribution to our understanding of Lasso's compositional process and to the reevaluation of Catholic church music of the immediate post-Tridentine period."