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1014:. Pryer explains that "these superficial repetitions serve to demonstrate Binchois' flexibility, since it is rare for two phrases to have exactly the same rhythmic or melodic contour, and consecutive phrases rarely end on the same pitch or note-value." His melodies value simplicity, economy of material and, outside of the codas, minimal rhythmic activity. The musicologist
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was the first to note that numerous
Binchois songs, particularly early works, are symmetrically constructed in their length and the location of their middle cadence. Rehm also observed that in five-line rondeaux, Binchois added a sixth non-texted musical line, so that the music remained symmetrical.
678:
for at least four churches until his death: St
Donatian, Bruges (from 7 January 1430); Ste Waudru, Mons (from 17 May 1437); St Vincent, Soignies (from 1452); and St Pierre, Cassel (from 21 May 1459). He was also made honorary court secretary in 1437 by Philip, who paid for a now-lost work by him on
838:
concludes that although
Binchois "earned his enormous reputation in the one genre in which he excelled as a composer this master of melody and courtly performer apparently does not explore the depths of the art". He utilized a limited range of techniques, favoring older melodic styles that evoked
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considers this misleading, noting that that while
Binchois "earned his enormous reputation in the one genre in which he excelled as a composer, performer and possibly even poet, Du Fay's creativity unfolded along many more musical lines". In general Du Fay is often considered the leading European
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and Arthur Parris have attempted to combine movements into a complete work, Fallows considers these no where near the coherency of other
Renaissance masses. Although a few pairs of movements are known, their unification comes from overarching stylistic similarities, not specific musical material.
1157:
and musical contour. Thus his sacred output is often considered comparatively uninspired and routine; "severely practical" in the opinion of Pryer. Oftentimes the work's chant source is harmonized in a basic, "note-against-note" manner, with such harmony in the top voice, akin to the continental
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style, melodies based on the
Parisian riteâa then-fashionable approach in Burgundy. Fallows notes that even the simplistic counterpoint in his magnificats is more extreme in unremarkability than routine magnificats by Du Fay and Dunstaple. From these characteristics, Fallows considers Binchois'
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survives than secular, creating a "paradoxical image" of a composer best known for the latter. Regardless, the ease at which his secular output can be analyzedâboth stylistically and chronologicallyâdoes not transfer here. The various church forms are treated distinctly, often without stylistic
1022:, emphasizing it is a similarity in effect, not necessarily an influence. Fallows highlights these sentiments in numerous works: the "unforgettable grace" of "De plus en plus"; "restrained elegance" of "Mon cuer chante"; and "carefully balanced phrases" of "Adieu jusques je vous revoye".
941:. Although Binchois probably never visited England, the Philip's court had good relations with the English, and had established both diplomatic and cultural links with their northern neighbor; his court was open to English diplomats, businessmen and musicians. The Renaissance scholar
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as "probably the most influential
English composer of all time." Reflecting on this, Fallows contends that regardless, "the extent to which works were borrowed, cited, parodied and intabulated in the later 15th century implies that he had more direct influence than either ".
1125:
These mass movements are based around chant; unlike his contemporaries, the chant is used in a forward-looking manner: a starting point, not a strict foundation, allowing for more creative liberty. Conversely the overall mass movement structure is relatively conservative.
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commented that Philip's court of "eclectic and flamboyant culture typified the feudal aspirations of the age". This golden age was not from any specific innovations by Philip specifically, but his continued patronage after a long-line of monarchial support for the arts.
596:; the exact date is unknown due to chapel's lost employment records from 1419 to 1436. A 1427 disposition from Guillaume Benoit which includes Binchois' name suggests he was there by then, though this is uncertain. He was certainly in the chapel when he wrote the motet
732:
On 20 September 1460 Binchois died in
Soignies; his will mentions otherwise unknown family members, including his brothers Andri de Binch and Ernoul de Binch. He was buried in St. Vincent's collegiate church. Upon his death Ockeghem wrote a deploration,
1597:
Binchois' disdain for larger works may be a reflection of the
Burgundian court culture, which Fallows presumes was "less festive and ambitious than its emulators in the south and less longwinded in its devotions than the more pretentious English
513:
at Ste Waudru in Mons. It is possible that Gilles
Binchois received an early musical education near the court of Mons, and like other composers of his time, he probably trained as a chorister in his youth, perhaps at St Germain. An account from
827:, and the smooth treatment of dissonance of his English contemporaries". As a melodist in particular, Binchois is often considered among the finest of the 15th century; Fallows argues that in this regard he had no contemporary equal.
957:, were long-misattributed to Binchois. Strohm cautions that this influence was not prevalent enough to consider any of Binchois' works to be English in style or imitating an English model: "he followed his own, aural version of
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as the three major European composers of the early 15th-century. Binchois, however, is usually ranked below the other two. Although Du Fay and Binchois have been grouped together since their lifetimes, the musicologist
1519:
Fallows has noted that Du Fay's employer Jehan Hubert was associated with Binchois' father in numerous documents, suggesting that "there is therefore a possibility that the two composers knew one another from an early
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players. The only certain meeting of the composers was in March 1449, when Du Fay resided with Binchois in Mons for a convocation of canons. Aside from Du Fay, important composer contemporaries of the region included
1624:
Fallows has doubted the apparent neatness of his exclusive setting the texts of major French poets, pointing out many of the authors have only been tentatively identified or unidentified. A text by his patron,
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is usually spelled Binchois or Binchoys; however, early manuscripts trasmit a variety of alternative spellings. These include Binchis, Binchoy, Bincoys, Bynczoys, Bynzoys, Prachoys, Vinczois and Wintzois.
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masses based on secular tunesâin favor of smaller-scale works. The musicologist Anthony Pryer described him as a "supreme miniaturist". Only a single large-scale work of his survives, the incomplete
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has often been misinterpreted as referring to Binchois. There is no evidence that Binchois was a chorister at Cambrai in his youth. As is known, he never received an academic degree of any kind.
98:
494:. The elder Binchois was also a councillor for the Ste Waudru church of Mons, and built a chapel for the St Germain church. Their son Gilles Binchois was probably born in Mons, then in the
1607:
This proximity probably permitted Binchois an earlier English-contact than Du Fay, whose main career was spent in the further south Italy. Some compositions by Binchois set the English
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Binchois is best known for his lyric-driven secular French songs, known as chansons, which were widely transmitted and imitated by fellow composers. During Binchois' lifetime, the
3512:(1881). "§ 93. Ménestrels, musiciens, fabricants d'orgues et de trompes, écoles de musique, etc." [§ 93. Minstrels, Musicians, Organ and Horn Makers, Music Schools, etc.].
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notes that "he must have been there some years earlier since the list of 1436 places him as fifth chaplain in order of seniority within the choir". The Burgundian court under
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It is thought that considerably more of his sacred music survives than secular music, creating a "paradoxical image" of the composer. Reflecting on his style, the
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by February 1453, receiving a substantial pension until his death, presumably for his long years of exemplary service to the Burgundian court. In 1452 he became
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comments that "Binchois cultivated the gently subtle rhythm, the suavely graceful melody, and the smooth treatment of dissonance of his English contemporaries".
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and of Egide Binchois. Frequently he interrupted the lessons with cries of enthusiasm, such as 'Orpheus, musician of Greece! Binchois, musician of Picardy!'"
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composition by later composers. About half of his extant secular music is found in the manuscript Oxford, Bodleian Library MS Canon. misc. 213.
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In works such as the rondeau "Amours et souvenir", abba poems are offset by an abab musical passage. As such, Binchois is stands out from other
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composer of his lifetime, and his career was both lengthier and more prolific than Binchois. While Dunstaple was described by the musicologist
916:, even when it was "easily avoided". Joan A. Boucher also noted that that Binchois' wide range use of the bass voice was unique for his time.
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The Burgundian chapel choir was unique in allowing its members to become clergy without being ordained as a priest; in 1437 Binchois became a
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650:, during a meeting at Chambéry of the Burgundian and Savoy courts in February 1434. It was probably here that Le Franc wrote his famous
683:. It is possible that Binchois had some experience in medicine, since he attended to a duchess's toothache in July 1437, receiving 30
360:, Binchois is renowned a melodist and miniaturist; he generally avoided large scale works, and is most admired for his shorter secular
3166:
Slavin, Dennis (Summer 1992). "Some Distinctive Features of Songs by Binchois: Cadential Voice Leading and the Articulation of Form".
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1045:; the combinative chanson "Filles a marier/Se tu tâen marias", which cautions against marriage, is an exception. Binchois' method of
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1037:. He chiefly prioritized serious courtly subjects, unlike his contemporaries who wrote spoof songs and celebratory songs for
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556:. This association is evidenced by a 1426 document which records that the Duke of Suffolk commissioned the otherwise unknown
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portrait, though there is no widespread agreement for this. Binchois was associated with the leading composer of his day,
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Schuler, Manfred (1976). "Neues zur Biographie von Gilles Binchois" [News on the Biography of Gilles Binchois].
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has made their combination unpredictable in his works. This is a stark departure from the careful music-text balance of
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990:. This was reflected in Binchois' body of work: of his 54 chansons, the vast majority (47) are rondeaux and seven are
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Musical Sources â Sources for Music History. Festschrift for Martin Staehelin on the Occasion of his 65th Birthday
387:. His youth is largely unknown, although early chorister training is likely; by late 1419 he had obtained a local
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687:. The choir's attendance records are fairly thorough, and indicate that Binchois did not travel much on his own.
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was also forward-looking and has incited much conversation; Binchois oftentimes embraced moments of dissonant
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of the collegiate church of St Vincent. Around this time Soignies grew its reputation for musical excellence;
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Musikalische Quellen â Quellen zur Musikgeschichte. Festschrift fĂŒr Martin Staehelin zum 65. Geburtstag
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This illustration is the only certain depiction of Binchois, and may not even be an accurate likeness.
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would be born a century later. There is no documentary evidence that Binchois was born in the town of
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Nothing for certain is known about Binchois until 8 December 1419, when he is known to have been the
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Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's DĂ©ploration for Claudin de Sermisy".
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has noted a resemblance between the melodic character and simplicity of Binchois' music and that of
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1065:. Fallows suggests that this approach is an attempt to counter the strict structural rules of the
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Burgundian Court Song in the Time of Binchois: The Anonymous Chansons of El Escorial, MS V.III.24
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an otherwise unknown chanson by Binchois. Fallows has suggested that Du Fay composed the rondeau
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was perhaps the most lively and prominent court of the area; its members compared it to that of
600:âone of his only datable compositionsâon the 18th of January 1431, as it was for the baptism of
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praised the town's musical standard. Binchois may have been involved in the well known 1454
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liturgy, while some of his songs can be found in English manuscripts. The English composer
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536:. Around this time he may have been a soldier, as indicated by a line in the funeral motet
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name his parents as Johannes and Johanna de Binche, usually identified with Jean de Binch (
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His tunes appeared in copies decades after his death, and were often used as sources for
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in that "poetic form of a song cannot always be deduced correctly from the music alone".
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in 1460 for his colleague's death, since it seemingly references two songs by Binchois.
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Dufay and his Contemporaries: Fifty Compositions (Ranging from about A.D. 1400 to 1440)
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Dufay and his Contemporaries: Fifty Compositions (Ranging from about A.D. 1400 to 1440)
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Archives of Arts, Sciences and Letters: Unpublished, Published and Annotated Documents
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parallels. There are also departures from Binchois' secular characteristics: very few
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In addition to not prioritizing poetic structure, Binchois heavily emphasized musical
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was often unique from his peers; his melodies are generally independent of the poem's
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notes that Binchois was "ideally placed to absorb and reflect styles from across the
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The lyrics Binchois set were often by prominent French poet contemporaries, such as
871:. His genre preference was also conservative, eschewing newer voguish formsâsuch as
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403:. Sometime during the 1420s, Binchois settled in the culturally thriving court of
372:, but together the three were the most celebrated composers of the early European
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Composers writing laments for fellow composers was a long-standing tradition in
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Archives des arts, sciences et lettres: Documents inédits, publiés et annotés
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1588:, p. 31) for a complete list of extant medieval and Renaissance laments.
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Music in the Middle Ages: With an Introduction on the Music of Ancient Times
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was performed, which may be by Binchois, but is usually ascribed to Du Fay.
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412:
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3280:(2002). "Ballades by Dufay, Grenon, and Binchois: 'The Boorman Fragment'".
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1965:
1963:
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The composer's full name is Gilles de Bins dit Binchois, consisting of the
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2959:"Binchois [Binchoys], Gilles de Bins [Binch, Binche] dit"
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Sometime during the late 1420s Binchois joined the court chapel choir of
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Most of Binchois' sacred output is individual mass movements, alongside
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from a 'Binchoiz'. At some point Binchois went with William to Hainaut.
17:
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352:â 20 September 1460) was a Franco-Flemish composer and singer of early
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1185:"He had taught Dea and Gwynplaine to sing, according to the method of
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Binchois (also spelled 'Binchoys'). Obituary records from St Vincent,
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Modern musicologists generally hold Binchois, along with Du Fay and
552:; Binchois is assumed to have been in Paris, alongside the composer
468:
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It is generally assumed that considerably more of Binchois' total
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809:. Most are written for three voices, although some have four. The
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31:
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The standard editions for Binchois' sacred and secular music are
588:, this could be the likeness of Binchois, though this is disputed
4107:
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De geestelijkheid van de Brugse Lieve-Vrouwkerk in de 16e eeuw
2741:. The Works of Victor Hugo. New York: The Athenaeum Society.
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based a mass setting on Binchois' ballade "Dueil angoisseus".
1069:, while Slavin describes this attitude as more medieval than
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poem, which depicts the two composers and blind Burgundian
449:'Gilles de Binche' (also spelled 'Gilles de Bins') and the
423:
in 1453 amid a substantial courtly pension, dying in 1460.
532:
Records from 28 July 1423 indicates that he soon moved to
949:". The English influence was such that three settings of
604:; the motet's text names Binchois alongside the composer
2812:. Constellatio Musica 18 (in Italian). Palermo: L'Epos.
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See a more complete list of Binchois' contemporaries in
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Lamentatio sanctae matris ecclesiae Constantinopolitanae
3543:
Stainer, John Frederick Randall (1904). "Binchois". In
3375:(1975). "Dufay at Cambrai: Discoveries and Revisions".
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was not a priority to Binchois, who instead emphasized
525:(1880) which refers to the chorister Jean de Binche at
4897:
1109:) and a variety of smaller sacred works. No complete
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remarked that "Binchois cultivated the gently subtle
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intervals and often highlighted duets within larger
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1750:
1748:
1380:
Musicians of the Burgundy court in the 15th century
1376:
Les musiciens de la cour de Bourgogne au XVe siĂšcle
919:Like Du Fay, Binchois was deeply influenced by the
755:
383:(modern-day Belgium) to an upper-class family from
3076:
3030:
3003:
2957:
2922:
2667:
1162:is his sacred texture of choice, typically in the
711:were active there, while the contemporary writers
544:. Binchois might have served under the Englishman
506:, a few miles from Mons, as is sometimes assumed.
27:Franco-Flemish Renaissance composer (c. 1400â1460)
3239:(November 1924). "L'origine de Gilles Binchois".
628:Among the residents of the court was the painter
3435:(in French). Vol. 1 (2nd ed.). Paris:
3230:, § "Bibliography") for extensive bibliographies
830:Most commentators agree that Binchois was not a
2760:Guillaume de Machaut: Secretary, Poet, Musician
1183:
2693:Kirkman, Andrew; Slavin, Dennis, eds. (2000).
1550:and Renaissance music. Other examples include
984:became the dominant chanson-type of the three
953:by Power and Dunstable, along with a motet by
4119:
3832:
3638:
3378:Journal of the American Musicological Society
3223:
2722:
1681:
364:. He is generally ranked below his colleague
319:
8:
3032:"Du Fay [Dufay; Du Fayt], Guillaume"
1404:Die Chansons von Gilles Binchois (1400â1460)
1002:. Other stylistic tropes include the use of
395:and probably a soldier under the Englishman
2892:. Henryville: Institute of Medieval Music.
1053:. Scholars note that his tendency to favor
846:
478:?). His parents were of the upper class in
4126:
4112:
4104:
3839:
3825:
3817:
3645:
3631:
3623:
3610:
2165:
1905:
1736:
1704:
1306:(2 ed.). Amsterdam: Frits A.M. Knuf.
1006:(Landini cadences), the favoring of short
998:, save for the rondeau "Seule esgaree" in
674:. Probably due to Philip's favor, he held
326:
312:
64:
36:Binchois (right) holding a small harp and
3604:International Music Score Library Project
3550:Grove's Dictionary of Music and Musicians
3470:Vierteljahrsschrift fĂŒr Musikwissenschaft
2890:Music at the Court of Burgundy, 1364-1419
2587:, §2 "Reputation and influence", para. 3.
1969:
1935:
540:, composed in his memory by the composer
2929:The Oxford Dictionary of the Renaissance
2044:
1113:is extant and although scholars such as
801:, 28 smaller sacred works, a variety of
4904:
3585:Digital Image Archive of Medieval Music
3581:List of compositions by Gilles Binchois
3227:
3051:10.1093/gmo/9781561592630.article.08268
2978:10.1093/gmo/9781561592630.article.03094
2584:
2560:
2529:
2510:
2481:
2466:
2454:
2442:
2415:
2391:
2355:
2343:
2331:
2319:
2287:
2222:
2207:
2195:
2180:
2113:
2029:
2017:
1988:
1954:
1871:
1852:
1820:
1805:
1793:
1666:
1642:
1537:for a broader list of the entire period
1487:
546:William de la Pole, 1st Duke of Suffolk
83:
76:
3319:. Oxford monographs on music. Oxford:
2638:The Religious Music of Gilles Binchois
2616:. Oxford Studies of Composer. Oxford:
2493:
2427:
2403:
2370:
2275:
2263:
2251:
2153:
2134:
2000:
1920:
1724:
1167:sacred works most similar to those of
994:. His songs are almost exclusively in
752:
646:. They likely met, alongside the poet
632:, who, according to the art historian
498:, the same city in which the composer
486:; his father was a councillor to Duke
4974:15th-century Franco-Flemish composers
2863:The Rise of European Music, 1380-1500
2304:
2239:
2225:, §4 "Binchois and England", para. 2.
2101:
2068:
2056:
1890:
1835:
1768:
1649:
1530:
888:(1481). Binchois' progressive use of
636:, may have portrayed Binchois in the
7:
3432:Biographie universelle des musiciens
2572:
2541:
2080:
1585:
1358:Plainsong and Medieval Music Society
1330:DenkmĂ€ler der Tonkunst in Ăsterreich
1244:
1240:
3078:"Binchois [Gilles de Bins]"
1457:The Sacred Music of Gilles Binchois
1436:The Sacred Works of Gilles Binchois
1137:(octave-leap cadences), less major
3272:. Vol. 117. pp. 100â135.
3198:"Binchois | Flemish composer"
779:Triste plaisir et douleureuse joye
762:Triste plaisir et douleureuse joye
25:
2910:Journal and encyclopedia articles
4964:Belgian male classical composers
4931:
4919:
4907:
4875:
4866:
4865:
4401:Giovanni Pierluigi da Palestrina
2418:, §6 "Secular works", paras 5â6.
1556:Armes, amours/O flour des flours
933:, which uniquely emphasized the
900:are occasionally treated with a
772:
561:Ainsi que a la foiz mây souvient
3545:Maitland, John Alexander Fuller
3439:. pp. 417â419 – via
2808:Rossi, Francesco Rocco (2008).
2721:. "Binchois and the Poets". In
1294:; Stainer, Cecie, eds. (1963).
1292:Stainer, John Frederick Randall
1257:; Stainer, Cecie, eds. (1898).
1255:Stainer, John Frederick Randall
1063:Guillaume Du Fay's compositions
492:Jacqueline, Countess of Hainaut
3600:Free scores by Gilles Binchois
3590:Free scores by Gilles Binchois
3387:University of California Press
3353:(revised ed.). New York:
3288:] (in German). Göttingen:
2394:, §6 "Secular works", para. 5.
2358:, §6 "Secular works", para. 2.
2322:, §6 "Secular works", para. 4.
2290:, §6 "Secular works", para. 1.
482:and probably from the town of
1:
4144:List of Renaissance composers
3208:EncyclopĂŠdia Britannica, Inc.
3084:The Oxford Companion to Music
2834:Music in Late Medieval Bruges
2532:, §7 "Sacred works", para. 6.
2513:, §7 "Sacred works", para. 1.
2484:, §7 "Sacred works", para. 4.
2469:, §7 "Sacred works", para. 3.
2183:, §7 "Sacred works", para. 5.
1535:List of Renaissance composers
1455:Kaye, Philip R., ed. (1991).
735:Mort, tu as navré de ton dart
346:
45:
3594:Choral Public Domain Library
3412:Works of historical interest
3138:Archiv fĂŒr Musikwissenschaft
3068:UK public library membership
3027:Planchart, Alejandro Enrique
2995:UK public library membership
2666:Brown, Howard Mayer (1976).
2457:, §7 "Sacred works", para 3.
973:Watercolor of Binchois from
681:Passions en nouvelle maniere
602:Anthony, bastard of Burgundy
548:, who was in France for the
473:
462:
4969:Burgundian school composers
4959:Belgian classical composers
3081:. In Latham, Alison (ed.).
2723:Kirkman & Slavin (2000)
1374:Marix, Jeanne, ed. (1937).
1147:and less regular symmetry.
834:composer. The musicologist
339:Gilles de Bins dit Binchois
4990:
4774:Petrus Phalesius the Elder
4589:English Virginalist School
3355:W. W. Norton & Company
3290:Vandenhoeck & Ruprecht
3224:Kirkman & Slavin (2000
3005:"Binchois, Gilles de Bins"
3002:Korth, Hans-Otto (2016) .
2924:"Binchois, Gilles de Bins"
2868:Cambridge University Press
2791:W. W. Norton & Company
1332:. Vol. XXXI. Vienna:
1144:tempus perfectum diminutum
399:, eventually in Paris and
356:. A central figure of the
4845:
4556:Jan Pieterszoon Sweelinck
4141:
3620:
3615:Links to related articles
3169:The Journal of Musicology
2635:Boucher, Joan A. (1963).
1682:Kirkman & Slavin 2000
1570:(1497) for Ockeghem, and
771:
760:
737:; its opening appears to
695:He eventually retired in
415:and was awarded numerous
368:and the English composer
3351:Music in the Renaissance
3315:Kemp, Walter H. (1990).
3226:, pp. 331â342) and
2765:Cornell University Press
2670:Music in the Renaissance
1027:Charles, Duke of Orléans
538:Deploration for Binchois
467:?) and his wife Jeanne,
391:post. By 1423 he was in
4584:English Madrigal School
3553:. Vol. 1. London:
3203:EncyclopĂŠdia Britannica
3145:(Jahrg., H. 1): 68â78.
3089:Oxford University Press
3075:Pryer, Anthony (2011).
3043:Oxford University Press
3021:(subscription required)
2970:Oxford University Press
2948:(subscription required)
2933:Oxford University Press
2701:Oxford University Press
2618:Oxford University Press
1808:, §1 "Life", paras 1â2.
1533:, pp. 59â65). See
1461:Oxford University Press
1434:Parris, Arthur (1964).
1350:Van den Borren, Charles
1326:Sieben Trienter Codices
1105:settings (particularly
812:EncyclopĂŠdia Britannica
723:in Lille, as the motet
429:EncyclopĂŠdia Britannica
4426:TomĂĄs Luis de Victoria
4230:Oswald von Wolkenstein
4017:Jacob Clemens non Papa
3526:. Vol. 3. Ghent:
3486:Breitkopf & HĂ€rtel
3420:Fétis, François-Joseph
2838:(2 ed.). Oxford:
2198:, §8 "Style", para. 4.
2116:, §8 "Style", para. 1.
1408:Musikalische DenkmÀler
1302:; musical analysis by
1271:(1 ed.). London:
1267:; musical analysis by
1191:
977:
906:common practice period
589:
488:William IV of Hainault
62:
52:Illuminated manuscript
4446:Transition to Baroque
4391:Pierre de Manchicourt
4032:Pierre de Manchicourt
3848:Franco-Flemish School
3806:Franco-Flemish School
3453:Chrysander, Friedrich
3014:(in German). Kassel:
2020:, §1 "Life", para. 7.
1991:, §1 "Life", para. 5.
1957:, §1 "Life", para. 6.
1874:, §1 "Life", para. 4.
1855:, §1 "Life", para. 3.
1823:, §1 "Life", para. 2.
1796:, §1 "Life", para. 1.
1173:Johannes de Limburgia
1087:Renaissance composers
975:Le Champion des dames
972:
892:is an exception: the
721:Feast of the Pheasant
717:Lodovico Guicciardini
652:Le champion des dames
584:(1432). According to
574:
379:Binchois was born in
111:Movements and schools
99:Transition to Baroque
60:Le champion des dames
35:
4476:Girolamo Frescobaldi
4283:CristĂłbal de Morales
3530:. pp. 136â151.
3268:Dewitte, A. (1970).
3241:Revue de Musicologie
3108:Revue de Musicologie
2755:Leach, Elizabeth Eva
2674:. Englewood Cliffs:
1629:was set by Binchois.
1560:Guillaume de Machaut
1004:under-third cadences
691:Final Soignies years
411:, where he became a
4594:Florentine Camerata
4566:Composition schools
4225:Gaspar van Weerbeke
3703:Hayne van Ghizeghem
3510:Pinchart, Alexandre
3437:Firmin Didot FrĂšres
2725:, pp. 119â220.
2563:, § "Introduction".
2406:, pp. 347â348.
2373:, pp. 346â347.
2346:, pp. 204â206.
1938:, § "Introduction".
1135:Burgundian cadences
1080:. The musicologist
959:contenance angloise
922:contenance angloise
886:Nove cantum melodie
861:) tradition of the
705:Guillaume Malbecque
620:. The musicologist
618:Alexander The Great
608:. The musicologist
598:Nove cantum melodie
148:English Virginalist
133:Florentine Camerata
4789:Thomas Vautrollier
4769:Ottaviano Petrucci
4744:Pierre Attaingnant
4734:Hieronymus Andreae
4541:Michael Praetorius
4526:Claudio Monteverdi
4516:Giovanni de Macque
4511:Luzzasco Luzzaschi
4481:Alfonso Fontanelli
4371:Francisco Guerrero
4346:Antonio de CabezĂłn
4258:Thomas Crecquillon
4240:Middle (1470â1530)
4220:Johannes Tinctoris
4160:Alexander Agricola
4068:Giovanni de Macque
4022:Thomas Crecquillon
3981:Matthaeus Pipelare
3935:Johannes Tinctoris
3920:Marbrianus de Orto
3895:Alexander Agricola
3738:Johannes Tapissier
3733:Guillaume le Rouge
3555:Macmillan & Co
3292:. pp. 25â35.
3210:16 September 2021.
3038:Grove Music Online
2965:Grove Music Online
2738:The Man Who Laughs
1627:William de la Pole
1322:Ficker, Rudolf von
1298:. Introduction by
1263:. Introduction by
1196:The Man Who Laughs
1115:Laurence Feininger
1035:Christine de Pizan
978:
713:Jacobus Lessabaeus
590:
550:Hundred Years' War
397:William de la Pole
63:
4895:
4894:
4889:
4888:
4486:Giovanni Gabrieli
4313:Philippe Verdelot
4210:Johannes Ockeghem
4152:Early (1400â1470)
4135:Renaissance music
4101:
4100:
4073:Philippe de Monte
3915:Johannes Ockeghem
3910:Guillaume Faugues
3814:
3813:
3801:Music of Burgundy
3718:Reginaldus Libert
3673:Arnold de Lantins
3654:Burgundian School
3330:978-0-19-816135-6
3299:978-3-525-27820-8
3098:978-0-19-957903-7
3066:(subscription or
3060:978-1-56159-263-0
2993:(subscription or
2987:978-1-56159-263-0
2942:978-0-19-860175-3
2899:978-0-912024-25-7
2877:978-0-521-61934-9
2849:978-0-19-316418-5
2819:978-88-8302-360-6
2800:978-0-393-09750-4
2774:978-1-5017-0486-4
2710:978-0-19-816668-9
2685:978-0-13-608497-6
2643:Boston University
2627:978-0-19-315225-0
1669:, §2 "Portraits".
1440:Bryn Mawr College
1382:]. New York:
1370:2nd edition, 1962
1334:Universal Edition
1169:Johannes Brassart
1141:, more selective
1055:musical structure
896:scale-degree and
883:isorhythmic motet
839:the 12th-century
785:
784:
766:Sollazzo Ensemble
764:performed by the
665:Arnold de Lantins
542:Johannes Ockeghem
527:Cambrai Cathedral
500:Orlande de Lassus
496:County of Hainaut
358:Burgundian School
354:Renaissance music
336:
335:
78:Renaissance music
16:(Redirected from
4981:
4936:
4935:
4934:
4924:
4923:
4922:
4912:
4911:
4910:
4903:
4879:
4869:
4868:
4749:Vittorio Baldini
4726:Music publishing
4501:Hans Leo Hassler
4456:Gregorio Allegri
4411:Cipriano de Rore
4386:Vicente Lusitano
4381:Orlando di Lasso
4336:Jacques Arcadelt
4303:Pierre de la Rue
4298:Josquin des Prez
4278:Clément Janequin
4273:Antoine de FĂ©vin
4263:Antonius Divitis
4205:Johannes Martini
4180:Guillaume Du Fay
4128:
4121:
4114:
4105:
4058:Orlando di Lasso
4037:Cipriano de Rore
4012:Jacques Arcadelt
3996:Pierre de la Rue
3986:Josquin des Prez
3961:Antoine de FĂ©vin
3956:Antonius Divitis
3925:Johannes Prioris
3879:Johannes Pullois
3864:Guillaume Du Fay
3841:
3834:
3827:
3818:
3780:Guillaume Du Fay
3764:Johannes Legrant
3688:Johannes Cesaris
3647:
3640:
3633:
3624:
3611:
3570:
3539:
3525:
3505:
3478:
3465:"Wilhelm du Fay"
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2961:
2949:
2946:
2926:
2919:Campbell, Gordon
2903:
2886:Wright, Craig M.
2881:
2858:Strohm, Reinhard
2853:
2837:
2828:Strohm, Reinhard
2823:
2810:Guillaume Du Fay
2804:
2778:
2750:
2726:
2714:
2696:Binchois Studies
2689:
2673:
2662:
2631:
2588:
2582:
2576:
2570:
2564:
2558:
2545:
2539:
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2255:
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2226:
2220:
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2199:
2193:
2184:
2178:
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2151:
2138:
2132:
2117:
2111:
2105:
2099:
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2015:
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1992:
1986:
1973:
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1939:
1933:
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1918:
1912:
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1630:
1622:
1616:
1605:
1599:
1598:establishments".
1595:
1589:
1568:Nymphes des bois
1564:Josquin des Prez
1544:
1538:
1527:
1521:
1517:
1511:
1501:
1495:
1492:
1472:
1451:
1430:
1416:
1395:
1369:
1354:Polyphonia Sacra
1345:
1315:
1300:Edward Nicholson
1284:
1273:Novello & Co
1265:Edward Nicholson
1203:
1155:text declamation
1123:
860:
857:
854:
851:
848:
805:, as well as 54
776:
775:
753:
644:Guillaume Du Fay
567:Burgundian court
554:Estienne Grossin
524:
477:
475:
466:
464:
419:. He retired to
366:Guillaume Du Fay
351:
348:
328:
321:
314:
291:â Medieval music
153:English Madrigal
86:
65:
50:
47:
40:(left) beside a
38:Guillaume Du Fay
21:
4989:
4988:
4984:
4983:
4982:
4980:
4979:
4978:
4944:
4943:
4942:
4932:
4930:
4920:
4918:
4914:Classical music
4908:
4906:
4898:
4896:
4891:
4890:
4885:
4862:
4854:
4841:
4793:
4779:Girolamo Scotto
4764:Antonio Gardano
4720:
4659:
4613:
4560:
4551:Heinrich SchĂŒtz
4546:Philippe Rogier
4496:Orlando Gibbons
4448:
4444:
4435:
4431:Giaches de Wert
4421:Christopher Tye
4376:Claude Le Jeune
4366:Claude Goudimel
4361:Nicolas Gombert
4356:Andrea Gabrieli
4351:Jacobus Clemens
4322:
4318:Adrian Willaert
4248:Martin Agricola
4234:
4170:Antoine Busnois
4165:Gilles Binchois
4146:
4137:
4132:
4102:
4097:
4093:Giaches de Wert
4083:Philippe Rogier
4063:Carolus Luython
4046:
4042:Adrian Willaert
4027:Nicolas Gombert
4000:
3939:
3883:
3874:Antoine Busnois
3869:Gilles Binchois
3850:
3845:
3815:
3810:
3789:
3768:
3759:Hugo de Lantins
3747:
3723:Clement Liebert
3698:Pierre Fontaine
3683:Antoine Busnois
3678:Gilles Binchois
3656:
3651:
3616:
3577:
3542:
3523:
3508:
3472:
3457:Spitta, Philipp
3447:
3426:
3418:
3371:
3365:
3345:
3331:
3321:Clarendon Press
3314:
3300:
3276:
3267:
3247:(12): 149â151.
3237:Closson, Ernest
3235:
3219:
3217:Further reading
3214:
3196:
3165:
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3105:
3099:
3074:
3065:
3061:
3025:
3020:
3001:
2992:
2988:
2952:
2947:
2943:
2917:
2906:
2900:
2884:
2878:
2856:
2850:
2840:Clarendon Press
2826:
2820:
2807:
2801:
2781:
2775:
2753:
2731:
2717:
2711:
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2079:
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2016:
2007:
1999:
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1976:
1968:
1961:
1953:
1942:
1934:
1927:
1919:
1915:
1904:
1897:
1889:
1878:
1870:
1859:
1851:
1842:
1834:
1827:
1819:
1812:
1804:
1800:
1792:
1775:
1767:
1746:
1735:
1731:
1723:
1714:
1703:
1688:
1680:
1673:
1665:
1656:
1648:
1644:
1639:
1634:
1633:
1623:
1619:
1606:
1602:
1596:
1592:
1577:Ye Sacred Muses
1545:
1541:
1528:
1524:
1518:
1514:
1502:
1498:
1493:
1489:
1484:
1479:
1454:
1433:
1410:
1398:
1373:
1348:
1320:
1290:
1253:
1235:
1214:Reinhard Strohm
1205:
1193:
1181:
1158:standard then.
1117:
1095:
1016:Hans-Otto Korth
967:
943:Gordon Campbell
935:third and sixth
858:
855:
852:
849:
836:Reinhard Strohm
773:
756:External videos
751:
693:
661:Hugo de Lantins
648:Martin le Franc
622:Reinhard Strohm
614:Philip the Good
606:Pierre Fontaine
569:
518:
472:
461:
443:
438:
409:Philip the Good
349:
332:
301:
298:Baroque music â
294:
281:
280:
279:
247:
239:
238:
237:
167:
159:
158:
157:
112:
102:
101:
84:
56:Martin le Franc
48:
42:portative organ
28:
23:
22:
15:
12:
11:
5:
4987:
4985:
4977:
4976:
4971:
4966:
4961:
4956:
4946:
4945:
4941:
4940:
4928:
4916:
4893:
4892:
4887:
4886:
4884:
4883:
4873:
4855:
4851:Medieval music
4847:
4846:
4843:
4842:
4840:
4839:
4838:
4837:
4832:
4827:
4822:
4817:
4807:
4801:
4799:
4795:
4794:
4792:
4791:
4786:
4784:Tielman Susato
4781:
4776:
4771:
4766:
4761:
4759:Valerio Dorico
4756:
4751:
4746:
4741:
4736:
4730:
4728:
4722:
4721:
4719:
4718:
4713:
4708:
4703:
4698:
4693:
4688:
4683:
4678:
4673:
4667:
4665:
4661:
4660:
4658:
4657:
4652:
4647:
4642:
4637:
4632:
4627:
4621:
4619:
4615:
4614:
4612:
4611:
4606:
4601:
4599:Franco-Flemish
4596:
4591:
4586:
4581:
4576:
4570:
4568:
4562:
4561:
4559:
4558:
4553:
4548:
4543:
4538:
4533:
4528:
4523:
4518:
4513:
4508:
4503:
4498:
4493:
4491:Carlo Gesualdo
4488:
4483:
4478:
4473:
4468:
4463:
4461:Thomas Campion
4458:
4452:
4450:
4437:
4436:
4434:
4433:
4428:
4423:
4418:
4413:
4408:
4406:Costanzo Porta
4403:
4398:
4396:Hans Neusidler
4393:
4388:
4383:
4378:
4373:
4368:
4363:
4358:
4353:
4348:
4343:
4338:
4332:
4330:
4324:
4323:
4321:
4320:
4315:
4310:
4305:
4300:
4295:
4290:
4285:
4280:
4275:
4270:
4268:Costanzo Festa
4265:
4260:
4255:
4253:Antoine Brumel
4250:
4244:
4242:
4236:
4235:
4233:
4232:
4227:
4222:
4217:
4212:
4207:
4202:
4197:
4195:Heinrich Isaac
4192:
4187:
4185:John Dunstaple
4182:
4177:
4175:Loyset CompĂšre
4172:
4167:
4162:
4156:
4154:
4148:
4147:
4142:
4139:
4138:
4133:
4131:
4130:
4123:
4116:
4108:
4099:
4098:
4096:
4095:
4090:
4085:
4080:
4075:
4070:
4065:
4060:
4054:
4052:
4051:5th generation
4048:
4047:
4045:
4044:
4039:
4034:
4029:
4024:
4019:
4014:
4008:
4006:
4005:4th generation
4002:
4001:
3999:
3998:
3993:
3991:Jean Richafort
3988:
3983:
3978:
3973:
3968:
3966:Heinrich Isaac
3963:
3958:
3953:
3951:Antoine Brumel
3947:
3945:
3944:3rd generation
3941:
3940:
3938:
3937:
3932:
3930:Johannes Regis
3927:
3922:
3917:
3912:
3907:
3905:Firminus Caron
3902:
3900:Loyset CompĂšre
3897:
3891:
3889:
3888:2nd generation
3885:
3884:
3882:
3881:
3876:
3871:
3866:
3860:
3858:
3856:1st generation
3852:
3851:
3846:
3844:
3843:
3836:
3829:
3821:
3812:
3811:
3809:
3808:
3803:
3797:
3795:
3791:
3790:
3788:
3787:
3785:John Dunstaple
3782:
3776:
3774:
3770:
3769:
3767:
3766:
3761:
3755:
3753:
3749:
3748:
3746:
3745:
3740:
3735:
3730:
3725:
3720:
3715:
3710:
3708:Nicolas Grenon
3705:
3700:
3695:
3690:
3685:
3680:
3675:
3670:
3664:
3662:
3658:
3657:
3652:
3650:
3649:
3642:
3635:
3627:
3621:
3618:
3617:
3614:
3608:
3607:
3597:
3587:
3576:
3575:External links
3573:
3572:
3571:
3540:
3506:
3445:
3424:"AaronâBohrer"
3415:
3414:
3408:
3407:
3395:10.2307/830766
3369:
3363:
3347:Reese, Gustave
3343:
3329:
3312:
3298:
3278:Fallows, David
3274:
3265:
3253:10.2307/926163
3218:
3215:
3213:
3212:
3194:
3182:10.2307/763654
3176:(3): 342â361.
3163:
3151:10.2307/930600
3132:
3120:10.2307/947006
3103:
3097:
3072:
3059:
3023:
2999:
2986:
2954:Fallows, David
2950:
2941:
2914:
2913:
2912:
2905:
2904:
2898:
2882:
2876:
2854:
2848:
2824:
2818:
2805:
2799:
2783:Reese, Gustave
2779:
2773:
2751:
2729:
2728:
2727:
2719:Fallows, David
2709:
2690:
2684:
2663:
2641:(PhD thesis).
2632:
2626:
2610:Bent, Margaret
2605:
2604:
2603:
2596:
2593:
2590:
2589:
2577:
2565:
2546:
2544:, p. 391.
2534:
2515:
2498:
2496:, p. 244.
2486:
2471:
2459:
2447:
2432:
2430:, p. 347.
2420:
2408:
2396:
2375:
2360:
2348:
2336:
2334:, p. 204.
2324:
2309:
2292:
2280:
2278:, p. 247.
2268:
2266:, p. 245.
2256:
2254:, p. 243.
2244:
2227:
2212:
2210:, p. 187.
2200:
2185:
2173:
2158:
2156:, p. 182.
2139:
2137:, p. 342.
2118:
2106:
2085:
2073:
2071:, p. 304.
2061:
2059:, p. 358.
2049:
2034:
2022:
2005:
2003:, p. 153.
1993:
1974:
1970:Planchart 2004
1959:
1940:
1936:Planchart 2004
1925:
1923:, p. 163.
1913:
1895:
1876:
1857:
1840:
1825:
1810:
1798:
1773:
1744:
1729:
1727:, p. 129.
1712:
1686:
1671:
1654:
1641:
1640:
1638:
1635:
1632:
1631:
1617:
1613:John Bedyngham
1600:
1590:
1539:
1522:
1512:
1503:The composers
1496:
1486:
1485:
1483:
1480:
1478:
1475:
1474:
1473:
1452:
1431:
1402:, ed. (1957).
1400:Rehm, Wolfgang
1396:
1371:
1352:, ed. (1932).
1346:
1324:, ed. (1924).
1318:
1317:
1316:
1250:
1249:
1234:
1231:
1209:John Dunstable
1182:
1180:
1177:
1094:
1091:
1073:-Renaissance.
1043:New Year's Day
1031:Alain Chartier
966:
963:
927:John Dunstaple
902:tonal approach
842:amour courtois
797:movements, 32
783:
782:
769:
768:
758:
757:
750:
747:
709:Johannes Regis
692:
689:
634:Erwin Panofsky
586:Erwin Panofsky
568:
565:
442:
439:
437:
434:
370:John Dunstaple
334:
333:
331:
330:
323:
316:
308:
305:
304:
303:
302:
295:
288:
283:
282:
278:
277:
272:
267:
262:
255:
249:
248:
245:
244:
241:
240:
236:
235:
230:
225:
220:
215:
210:
205:
200:
195:
190:
185:
180:
175:
169:
168:
165:
164:
161:
160:
156:
155:
150:
145:
140:
135:
130:
125:
123:Franco-Flemish
120:
114:
113:
110:
109:
106:
105:
104:
103:
93:
88:
87:
81:
80:
74:
73:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4986:
4975:
4972:
4970:
4967:
4965:
4962:
4960:
4957:
4955:
4952:
4951:
4949:
4939:
4929:
4927:
4917:
4915:
4905:
4901:
4882:
4878:
4874:
4872:
4864:
4863:
4860:
4859:
4858:Baroque music
4853:
4852:
4844:
4836:
4833:
4831:
4828:
4826:
4823:
4821:
4818:
4816:
4813:
4812:
4811:
4808:
4806:
4803:
4802:
4800:
4796:
4790:
4787:
4785:
4782:
4780:
4777:
4775:
4772:
4770:
4767:
4765:
4762:
4760:
4757:
4755:
4752:
4750:
4747:
4745:
4742:
4740:
4739:Andrea Antico
4737:
4735:
4732:
4731:
4729:
4727:
4723:
4717:
4714:
4712:
4709:
4707:
4704:
4702:
4699:
4697:
4694:
4692:
4689:
4687:
4684:
4682:
4679:
4677:
4674:
4672:
4669:
4668:
4666:
4662:
4656:
4653:
4651:
4648:
4646:
4643:
4641:
4638:
4636:
4633:
4631:
4628:
4626:
4623:
4622:
4620:
4618:Musical forms
4616:
4610:
4607:
4605:
4602:
4600:
4597:
4595:
4592:
4590:
4587:
4585:
4582:
4580:
4577:
4575:
4572:
4571:
4569:
4567:
4563:
4557:
4554:
4552:
4549:
4547:
4544:
4542:
4539:
4537:
4534:
4532:
4531:Thomas Morley
4529:
4527:
4524:
4522:
4521:Luca Marenzio
4519:
4517:
4514:
4512:
4509:
4507:
4504:
4502:
4499:
4497:
4494:
4492:
4489:
4487:
4484:
4482:
4479:
4477:
4474:
4472:
4469:
4467:
4464:
4462:
4459:
4457:
4454:
4453:
4451:
4447:
4442:
4438:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4416:Thomas Tallis
4414:
4412:
4409:
4407:
4404:
4402:
4399:
4397:
4394:
4392:
4389:
4387:
4384:
4382:
4379:
4377:
4374:
4372:
4369:
4367:
4364:
4362:
4359:
4357:
4354:
4352:
4349:
4347:
4344:
4342:
4339:
4337:
4334:
4333:
4331:
4329:
4325:
4319:
4316:
4314:
4311:
4309:
4308:John Taverner
4306:
4304:
4301:
4299:
4296:
4294:
4293:Jacob Obrecht
4291:
4289:
4286:
4284:
4281:
4279:
4276:
4274:
4271:
4269:
4266:
4264:
4261:
4259:
4256:
4254:
4251:
4249:
4246:
4245:
4243:
4241:
4237:
4231:
4228:
4226:
4223:
4221:
4218:
4216:
4213:
4211:
4208:
4206:
4203:
4201:
4198:
4196:
4193:
4191:
4188:
4186:
4183:
4181:
4178:
4176:
4173:
4171:
4168:
4166:
4163:
4161:
4158:
4157:
4155:
4153:
4149:
4145:
4140:
4136:
4129:
4124:
4122:
4117:
4115:
4110:
4109:
4106:
4094:
4091:
4089:
4086:
4084:
4081:
4079:
4078:Jacob Regnart
4076:
4074:
4071:
4069:
4066:
4064:
4061:
4059:
4056:
4055:
4053:
4049:
4043:
4040:
4038:
4035:
4033:
4030:
4028:
4025:
4023:
4020:
4018:
4015:
4013:
4010:
4009:
4007:
4003:
3997:
3994:
3992:
3989:
3987:
3984:
3982:
3979:
3977:
3976:Jacob Obrecht
3974:
3972:
3969:
3967:
3964:
3962:
3959:
3957:
3954:
3952:
3949:
3948:
3946:
3942:
3936:
3933:
3931:
3928:
3926:
3923:
3921:
3918:
3916:
3913:
3911:
3908:
3906:
3903:
3901:
3898:
3896:
3893:
3892:
3890:
3886:
3880:
3877:
3875:
3872:
3870:
3867:
3865:
3862:
3861:
3859:
3857:
3853:
3849:
3842:
3837:
3835:
3830:
3828:
3823:
3822:
3819:
3807:
3804:
3802:
3799:
3798:
3796:
3792:
3786:
3783:
3781:
3778:
3777:
3775:
3771:
3765:
3762:
3760:
3757:
3756:
3754:
3750:
3744:
3741:
3739:
3736:
3734:
3731:
3729:
3728:Robert Morton
3726:
3724:
3721:
3719:
3716:
3714:
3711:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3674:
3671:
3669:
3666:
3665:
3663:
3659:
3655:
3648:
3643:
3641:
3636:
3634:
3629:
3628:
3625:
3619:
3612:
3605:
3601:
3598:
3595:
3591:
3588:
3586:
3582:
3579:
3578:
3574:
3568:
3564:
3560:
3556:
3552:
3551:
3546:
3541:
3537:
3533:
3529:
3528:L. Hebbelynck
3521:
3517:
3516:
3511:
3507:
3503:
3499:
3495:
3491:
3487:
3483:
3479:
3476:
3471:
3466:
3462:
3458:
3454:
3450:
3446:
3442:
3438:
3434:
3433:
3425:
3421:
3417:
3416:
3413:
3410:
3409:
3404:
3400:
3396:
3392:
3388:
3384:
3380:
3379:
3374:
3373:Wright, Craig
3370:
3366:
3364:0-393-09530-4
3360:
3356:
3352:
3348:
3344:
3340:
3336:
3332:
3326:
3322:
3318:
3313:
3309:
3305:
3301:
3295:
3291:
3287:
3283:
3279:
3275:
3271:
3266:
3262:
3258:
3254:
3250:
3246:
3242:
3238:
3234:
3233:
3232:
3231:
3229:
3228:Fallows (2001
3225:
3216:
3209:
3205:
3204:
3199:
3195:
3191:
3187:
3183:
3179:
3175:
3171:
3170:
3164:
3160:
3156:
3152:
3148:
3144:
3141:(in German).
3140:
3139:
3133:
3129:
3125:
3121:
3117:
3113:
3109:
3104:
3100:
3094:
3090:
3086:
3085:
3079:
3073:
3069:
3062:
3056:
3052:
3048:
3044:
3040:
3039:
3033:
3028:
3024:
3017:
3013:
3012:
3006:
3000:
2996:
2989:
2983:
2979:
2975:
2971:
2967:
2966:
2960:
2955:
2951:
2944:
2938:
2934:
2930:
2925:
2920:
2916:
2915:
2911:
2908:
2907:
2901:
2895:
2891:
2887:
2883:
2879:
2873:
2869:
2866:. Cambridge:
2865:
2864:
2859:
2855:
2851:
2845:
2841:
2836:
2835:
2829:
2825:
2821:
2815:
2811:
2806:
2802:
2796:
2792:
2788:
2784:
2780:
2776:
2770:
2766:
2762:
2761:
2756:
2752:
2748:
2744:
2740:
2739:
2734:
2730:
2724:
2720:
2716:
2715:
2712:
2706:
2702:
2698:
2697:
2691:
2687:
2681:
2677:
2676:Prentice Hall
2672:
2671:
2664:
2660:
2656:
2652:
2648:
2644:
2640:
2639:
2633:
2629:
2623:
2619:
2615:
2611:
2607:
2606:
2602:
2599:
2598:
2594:
2586:
2581:
2578:
2574:
2569:
2566:
2562:
2557:
2555:
2553:
2551:
2547:
2543:
2538:
2535:
2531:
2526:
2524:
2522:
2520:
2516:
2512:
2507:
2505:
2503:
2499:
2495:
2490:
2487:
2483:
2478:
2476:
2472:
2468:
2463:
2460:
2456:
2451:
2448:
2444:
2439:
2437:
2433:
2429:
2424:
2421:
2417:
2412:
2409:
2405:
2400:
2397:
2393:
2388:
2386:
2384:
2382:
2380:
2376:
2372:
2367:
2365:
2361:
2357:
2352:
2349:
2345:
2340:
2337:
2333:
2328:
2325:
2321:
2316:
2314:
2310:
2306:
2301:
2299:
2297:
2293:
2289:
2284:
2281:
2277:
2272:
2269:
2265:
2260:
2257:
2253:
2248:
2245:
2241:
2236:
2234:
2232:
2228:
2224:
2219:
2217:
2213:
2209:
2204:
2201:
2197:
2192:
2190:
2186:
2182:
2177:
2174:
2170:
2168:
2162:
2159:
2155:
2150:
2148:
2146:
2144:
2140:
2136:
2131:
2129:
2127:
2125:
2123:
2119:
2115:
2110:
2107:
2103:
2098:
2096:
2094:
2092:
2090:
2086:
2083:, p. 31.
2082:
2077:
2074:
2070:
2065:
2062:
2058:
2053:
2050:
2046:
2045:Campbell 2005
2041:
2039:
2035:
2032:, p. 69.
2031:
2026:
2023:
2019:
2014:
2012:
2010:
2006:
2002:
1997:
1994:
1990:
1985:
1983:
1981:
1979:
1975:
1971:
1966:
1964:
1960:
1956:
1951:
1949:
1947:
1945:
1941:
1937:
1932:
1930:
1926:
1922:
1917:
1914:
1910:
1908:
1902:
1900:
1896:
1892:
1887:
1885:
1883:
1881:
1877:
1873:
1868:
1866:
1864:
1862:
1858:
1854:
1849:
1847:
1845:
1841:
1837:
1832:
1830:
1826:
1822:
1817:
1815:
1811:
1807:
1802:
1799:
1795:
1790:
1788:
1786:
1784:
1782:
1780:
1778:
1774:
1770:
1765:
1763:
1761:
1759:
1757:
1755:
1753:
1751:
1749:
1745:
1741:
1739:
1733:
1730:
1726:
1721:
1719:
1717:
1713:
1709:
1707:
1701:
1699:
1697:
1695:
1693:
1691:
1687:
1683:
1678:
1676:
1672:
1668:
1663:
1661:
1659:
1655:
1652:, p. II.
1651:
1646:
1643:
1636:
1628:
1621:
1618:
1614:
1610:
1604:
1601:
1594:
1591:
1587:
1583:
1582:Thomas Tallis
1579:
1578:
1573:
1569:
1565:
1561:
1557:
1553:
1549:
1543:
1540:
1536:
1532:
1526:
1523:
1516:
1513:
1509:
1507:
1500:
1497:
1491:
1488:
1481:
1476:
1470:
1466:
1462:
1458:
1453:
1449:
1445:
1441:
1437:
1432:
1428:
1424:
1420:
1414:
1409:
1405:
1401:
1397:
1393:
1389:
1385:
1381:
1377:
1372:
1367:
1363:
1359:
1355:
1351:
1347:
1343:
1339:
1335:
1331:
1327:
1323:
1319:
1313:
1309:
1305:
1301:
1297:
1293:
1289:
1288:
1287:
1282:
1278:
1274:
1270:
1266:
1262:
1261:
1256:
1252:
1251:
1248:
1246:
1242:
1237:
1236:
1232:
1230:
1228:
1223:
1220:
1219:Margaret Bent
1215:
1210:
1204:
1202:
1198:
1197:
1190:
1188:
1178:
1176:
1174:
1170:
1165:
1161:
1156:
1152:
1148:
1146:
1145:
1140:
1136:
1131:
1126:
1121:
1116:
1112:
1108:
1104:
1100:
1092:
1090:
1088:
1083:
1082:Wolfgang Rehm
1079:
1074:
1072:
1068:
1064:
1060:
1056:
1052:
1048:
1044:
1040:
1036:
1032:
1028:
1023:
1021:
1017:
1013:
1010:and material
1009:
1005:
1001:
997:
993:
989:
988:
983:
976:
971:
964:
962:
960:
956:
952:
948:
944:
940:
936:
932:
928:
924:
923:
917:
915:
911:
908:. His use of
907:
904:of the later
903:
899:
895:
891:
887:
884:
880:
879:
878:cantus firmus
874:
873:cyclic masses
870:
869:
864:
844:
843:
837:
833:
828:
826:
822:
818:
814:
813:
808:
804:
800:
796:
792:
791:
781:
780:
770:
767:
763:
759:
754:
748:
746:
744:
743:En triumphant
740:
736:
730:
728:
727:
722:
718:
714:
710:
706:
702:
698:
690:
688:
686:
682:
679:29 May 1438,
677:
673:
668:
666:
662:
657:
653:
649:
645:
641:
640:
639:LĂ©al Souvenir
635:
631:
626:
623:
619:
615:
611:
610:David Fallows
607:
603:
599:
595:
587:
583:
579:
578:
577:LĂ©al Souvenir
573:
566:
564:
562:
559:
555:
551:
547:
543:
539:
535:
530:
528:
522:
517:
512:
507:
505:
501:
497:
493:
489:
485:
481:
470:
459:
455:
453:
448:
440:
435:
433:
431:
430:
424:
422:
418:
414:
410:
406:
402:
398:
394:
390:
386:
382:
377:
375:
371:
367:
363:
359:
355:
344:
340:
329:
324:
322:
317:
315:
310:
309:
307:
306:
300:
299:
293:
292:
287:
286:
285:
284:
276:
273:
271:
268:
266:
263:
261:
260:
256:
254:
251:
250:
243:
242:
234:
231:
229:
226:
224:
221:
219:
216:
214:
211:
209:
206:
204:
201:
199:
196:
194:
191:
189:
186:
184:
181:
179:
176:
174:
171:
170:
166:Major figures
163:
162:
154:
151:
149:
146:
144:
141:
139:
136:
134:
131:
129:
126:
124:
121:
119:
116:
115:
108:
107:
100:
96:
92:
91:
90:
89:
82:
79:
75:
71:
67:
66:
61:
57:
53:
43:
39:
34:
30:
19:
4856:
4849:
4820:Architecture
4754:Jacob Bathen
4471:John Dowland
4341:William Byrd
4215:Leonel Power
4164:
4088:Jacobus Vaet
3868:
3743:Jacobus Vide
3677:
3668:Adrien Basin
3596:(ChoralWiki)
3548:
3519:
3514:
3481:
3468:
3461:Adler, Guido
3449:Haberl, F.X.
3430:
3411:
3382:
3376:
3350:
3316:
3285:
3281:
3269:
3244:
3240:
3221:
3220:
3201:
3173:
3167:
3142:
3136:
3114:(1): 29â62.
3111:
3107:
3082:
3036:
3009:
2963:
2928:
2909:
2889:
2862:
2833:
2809:
2786:
2759:
2736:
2733:Hugo, Victor
2695:
2669:
2637:
2613:
2600:
2585:Fallows 2001
2580:
2575:, p. 9.
2568:
2561:Fallows 2001
2537:
2530:Fallows 2001
2511:Fallows 2001
2489:
2482:Fallows 2001
2467:Fallows 2001
2462:
2455:Fallows 2001
2450:
2445:, § "Works".
2443:Fallows 2001
2423:
2416:Fallows 2001
2411:
2399:
2392:Fallows 2001
2356:Fallows 2001
2351:
2344:Fallows 2000
2339:
2332:Fallows 2000
2327:
2320:Fallows 2001
2307:, § para. 4.
2288:Fallows 2001
2283:
2271:
2259:
2247:
2242:, § para. 1.
2223:Fallows 2001
2208:Boucher 1963
2203:
2196:Fallows 2001
2181:Fallows 2001
2176:
2171:, § para. 4.
2166:
2161:
2114:Fallows 2001
2109:
2104:, § para. 3.
2076:
2064:
2052:
2030:Schuler 1976
2025:
2018:Fallows 2001
1996:
1989:Fallows 2001
1972:, §1 "Life".
1955:Fallows 2001
1916:
1911:, § para. 2.
1906:
1893:, § para. 2.
1872:Fallows 2001
1853:Fallows 2001
1838:, § para. 5.
1821:Fallows 2001
1806:Fallows 2001
1801:
1794:Fallows 2001
1742:, § para. 1.
1737:
1732:
1710:, § para. 3.
1705:
1684:, p. 1.
1667:Fallows 2001
1645:
1620:
1609:Use of Sarum
1603:
1593:
1575:
1572:William Byrd
1567:
1555:
1542:
1525:
1515:
1505:
1499:
1490:
1456:
1435:
1419:Schott Music
1403:
1379:
1375:
1353:
1325:
1304:John Stainer
1295:
1269:John Stainer
1259:
1247:respectively
1238:
1224:
1206:
1194:
1192:
1184:
1151:Counterpoint
1149:
1142:
1130:sacred music
1127:
1096:
1075:
1067:formes fixes
1066:
1051:rhyme scheme
1047:text setting
1024:
987:formes fixes
985:
979:
974:
958:
931:Lionel Power
920:
918:
914:part writing
898:leading-tone
885:
876:
866:
856:courtly love
840:
829:
810:
793:includes 28
789:
786:
778:
761:
742:
734:
731:
724:
694:
680:
669:
651:
637:
630:Jan van Eyck
627:
597:
591:
582:Jan van Eyck
575:
560:
537:
531:
516:Jules Houdoy
508:
451:
444:
427:
425:
378:
342:
338:
337:
296:
289:
257:
177:
97: /
59:
29:
4954:1460 deaths
4810:Renaissance
4805:Early music
4701:Netherlands
4681:Elizabethan
4536:Jacopo Peri
4506:Alonso Lobo
4466:John Cooper
4328:Late (1530)
4288:Jean Mouton
4200:Jean Japart
4190:Walter Frye
3971:Jean Mouton
3713:Gilles Joye
3693:Jean Cousin
3557:. pp.
3488:: 397â530.
3484:. Leipzig:
3473: [
3389:: 175â229.
3206:. Chicago:
3016:BĂ€renreiter
2494:Strohm 2005
2428:Slavin 1992
2404:Slavin 1992
2371:Slavin 1992
2276:Strohm 2005
2264:Strohm 2005
2252:Strohm 2005
2154:Strohm 2005
2135:Slavin 1992
2001:Strohm 1985
1921:Wright 1979
1725:Strohm 2005
1580:(1585) for
1558:(1377) for
1531:Brown (1976
1411: [
1356:. Nashdom:
1286:Archive.org
1201:Victor Hugo
1199:chp. 6, by
1164:fauxbourdon
1118: [
1111:cyclic mass
1107:magnificats
1059:poetic form
1000:duple meter
996:triple time
863:troubadours
832:progressive
519: [
476: 1426
471:Paulouche (
465: 1425
374:Renaissance
350: 1400
246:Major forms
49: 1440
4948:Categories
4835:Philosophy
4830:Literature
4798:Background
4664:Traditions
4640:Magnificat
4630:Intermedio
4574:Burgundian
3773:Influences
3536:1039989296
3087:. Oxford:
3041:. Oxford:
3011:MGG Online
2968:. Oxford:
2931:. Oxford:
2789:. Lanham:
2763:. Ithaca:
2699:. Oxford:
2651:2144/29055
2305:Pryer 2011
2240:Pryer 2011
2167:Britannica
2102:Pryer 2011
2069:Leach 2014
2057:Reese 1940
1907:Britannica
1891:Pryer 2011
1836:Pryer 2011
1769:Korth 2016
1738:Britannica
1706:Britannica
1650:Rossi 2008
1586:Rice (1999
1552:F. Andrieu
1477:References
1459:. Oxford:
1438:(Thesis).
1417:2. Mainz:
1392:1312495580
1281:1120811734
1071:Humanistic
1020:folk music
1012:repetition
910:dissonance
788:Binchois'
490:and later
441:Early life
233:Monteverdi
213:Palestrina
118:Burgundian
4926:Biography
4650:Offertory
4579:Colorists
4441:Mannerism
3752:Uncertain
3661:Composers
3494:0863-6206
3070:required)
3029:(2004) .
2997:required)
2921:(2005) .
2735:(1888) .
2659:603465003
2614:Dunstaple
2573:Bent 1981
2542:Hugo 1888
2081:Rice 1999
1637:Citations
1366:663506936
1245:Kaye 1991
1241:Rehm 1957
1160:Homophony
1139:prolation
951:antiphons
925:style of
868:trouvĂšres
823:graceful
672:subdeacon
413:subdeacon
193:Tinctoris
95:Composers
4871:Category
4848: â
4711:Portugal
4635:Madrigal
4609:Venetian
3463:(eds.).
3451:(1885).
3422:(1866).
3349:(1954).
3339:18814790
3308:53125722
2956:(2001).
2888:(1979).
2860:(2005).
2830:(1985).
2785:(1940).
2757:(2014).
2612:(1981).
1548:medieval
1469:23975354
1448:30962057
1427:20617065
1342:20376641
1312:21452928
1233:Editions
1103:canticle
1078:symmetry
992:ballades
955:Standley
939:textures
894:dominant
890:cadences
807:chansons
697:Soignies
676:prebends
594:Burgundy
511:organist
458:Soignies
421:Soignies
417:prebends
405:Burgundy
389:organist
362:chansons
343:Binchoys
265:Madrigal
228:Victoria
183:Ockeghem
178:Binchois
143:Venetian
128:Colorist
85:Overview
70:a series
68:Part of
54:copy of
18:Binchois
4900:Portals
4861:â
4691:Germany
4671:British
3794:Related
3606:(IMSLP)
3602:at the
3592:in the
3583:at the
3559:326â327
3547:(ed.).
3502:1773229
2747:6737657
2595:Sources
1386:Press.
1187:Orpheus
1039:May Day
1008:phrases
982:rondeau
965:Secular
947:channel
850:
821:suavely
701:provost
401:Hainaut
259:Chanson
208:Zarlino
198:Josquin
188:Busnois
4881:Portal
4706:Poland
4686:France
4676:Cyprus
4655:Pavane
4449:c.1600
3567:407077
3565:
3534:
3522:]
3500:
3492:
3403:830766
3401:
3361:
3337:
3327:
3306:
3296:
3261:926163
3259:
3190:763654
3188:
3159:930600
3157:
3128:947006
3126:
3095:
3057:
2984:
2939:
2896:
2874:
2846:
2816:
2797:
2771:
2745:
2707:
2682:
2657:
2624:
1584:. See
1520:age.".
1467:
1446:
1425:
1390:
1364:
1340:
1310:
1279:
1179:Legacy
1093:Sacred
825:melody
819:, the
817:rhythm
803:motets
799:psalms
656:vielle
558:rondel
504:Binche
484:Binche
447:byname
407:under
385:Binche
341:(also
253:Anthem
203:Tallis
173:Du Fay
4938:Music
4825:Dance
4716:Spain
4696:Italy
4625:Carol
4604:Roman
3524:(PDF)
3518:[
3477:]
3441:IMSLP
3427:(PDF)
3399:JSTOR
3385:(2).
3284:[
3257:JSTOR
3186:JSTOR
3155:JSTOR
3124:JSTOR
2601:Books
1482:Notes
1415:]
1378:[
1122:]
1099:psalm
1057:over
790:Ćuvre
749:Music
739:quote
534:Lille
523:]
393:Lille
275:Motet
218:Lasso
138:Roman
44:in a
4645:Mass
4443:and
3563:OCLC
3532:OCLC
3498:OCLC
3490:ISSN
3359:ISBN
3335:OCLC
3325:ISBN
3304:OCLC
3294:ISBN
3245:T. 5
3222:See
3093:ISBN
3055:ISBN
2982:ISBN
2937:ISBN
2894:ISBN
2872:ISBN
2844:ISBN
2814:ISBN
2795:ISBN
2769:ISBN
2743:OCLC
2705:ISBN
2680:ISBN
2655:OCLC
2622:ISBN
2169:2021
1909:2021
1740:2021
1708:2021
1508:name
1465:OCLC
1444:OCLC
1423:OCLC
1388:OCLC
1362:OCLC
1338:OCLC
1308:OCLC
1277:OCLC
1243:and
1227:Mass
1171:and
1101:and
1041:and
1033:and
929:and
875:and
865:and
847:lit.
795:mass
715:and
707:and
685:sous
663:and
480:Mons
454:name
436:Life
381:Mons
270:Mass
223:Byrd
4815:Art
3391:doi
3249:doi
3178:doi
3147:doi
3116:doi
3047:doi
2974:doi
2647:hdl
1574:'s
1566:'s
1554:'s
1506:dit
1384:AMS
961:".
580:by
469:née
452:dit
58:'s
4950::
3561:.
3496:.
3480:.
3475:de
3467:.
3459:;
3455:;
3429:.
3397:.
3383:28
3381:.
3357:.
3333:.
3323:.
3302:.
3255:.
3243:.
3200:.
3184:.
3174:10
3172:.
3153:.
3143:33
3122:.
3112:85
3110:.
3091:.
3053:.
3045:.
3035:.
3008:.
2980:.
2972:.
2962:.
2935:.
2927:.
2870:.
2842:.
2793:.
2767:.
2703:.
2678:.
2653:.
2645:.
2620:.
2549:^
2518:^
2501:^
2474:^
2435:^
2378:^
2363:^
2312:^
2295:^
2230:^
2215:^
2188:^
2142:^
2121:^
2088:^
2037:^
2008:^
1977:^
1962:^
1943:^
1928:^
1898:^
1879:^
1860:^
1843:^
1828:^
1813:^
1776:^
1747:^
1715:^
1689:^
1674:^
1657:^
1562:,
1463:.
1442:.
1421:.
1413:de
1406:.
1360:.
1336:.
1328:.
1275:.
1175:.
1120:de
1029:,
667:.
521:fr
474:d.
463:d.
376:.
347:c.
345:;
72:on
46:c.
4902::
4127:e
4120:t
4113:v
3840:e
3833:t
3826:v
3646:e
3639:t
3632:v
3569:.
3538:.
3504:.
3482:1
3443:.
3405:.
3393::
3367:.
3341:.
3310:.
3263:.
3251::
3192:.
3180::
3161:.
3149::
3130:.
3118::
3101:.
3063:.
3049::
3018:.
2990:.
2976::
2945:.
2902:.
2880:.
2852:.
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