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1003:. 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.
667:
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
827:
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
1205:
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
1113:
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.
1146:
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
1155:
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'
1121:
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
1011:, 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".
930:. 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
1210:
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 ".
1114:
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.
613:
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.
585:; 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
1396:
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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,
1586:
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
502:
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
816:, 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.
946:, 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
1200:
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
1508:
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
647:
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
1613:
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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1499:
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
776:
518:
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.
483:. 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
1596:
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
969:
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
3501:(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
688:
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
421:
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
504:
905:, 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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639:, during a meeting at Chambéry of the Burgundian and Savoy courts in February 1434. It was probably here that Le Franc wrote his famous
672:. It is possible that Binchois had some experience in medicine, since he attended to a duchess's toothache in July 1437, receiving 30
349:, Binchois is renowned a melodist and miniaturist; he generally avoided large scale works, and is most admired for his shorter secular
3155:
Slavin, Dennis (Summer 1992). "Some Distinctive Features of Songs by Binchois: Cadential Voice Leading and the Articulation of Form".
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1034:; the combinative chanson "Filles a marier/Se tu tâen marias", which cautions against marriage, is an exception. Binchois' method of
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1026:. He chiefly prioritized serious courtly subjects, unlike his contemporaries who wrote spoof songs and celebratory songs for
545:. 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
300:
979:. 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
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376:. His youth is largely unknown, although early chorister training is likely; by late 1419 he had obtained a local
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676:. 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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1054:. 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
589: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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525:. 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
860:. His genre preference was also conservative, eschewing newer voguish formsâsuch as
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392:. Sometime during the 1420s, Binchois settled in the culturally thriving court of
361:, 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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2771:
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1577:, 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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3269:(2002). "Ballades by Dufay, Grenon, and Binchois: 'The Boorman Fragment'".
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The composer's full name is Gilles de Bins dit Binchois, consisting of the
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2948:"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
856:
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from a 'Binchoiz'. At some point Binchois went with William to Hainaut.
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341:â 20 September 1460) was a Franco-Flemish composer and singer of early
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1174:"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
541:; Binchois is assumed to have been in Paris, alongside the composer
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It is generally assumed that considerably more of Binchois' total
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798:. Most are written for three voices, although some have four. The
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The standard editions for Binchois' sacred and secular music are
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577:, this could be the likeness of Binchois, though this is disputed
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21:
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De geestelijkheid van de Brugse Lieve-Vrouwkerk in de 16e eeuw
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2730:. The Works of Victor Hugo. New York: The Athenaeum Society.
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based a mass setting on Binchois' ballade "Dueil angoisseus".
1087:
1058:, while Slavin describes this attitude as more medieval than
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381:
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poem, which depicts the two composers and blind Burgundian
438:'Gilles de Binche' (also spelled 'Gilles de Bins') and the
412:
in 1453 amid a substantial courtly pension, dying in 1460.
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Records from 28 July 1423 indicates that he soon moved to
2386:
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938:". The English influence was such that three settings of
593:; the motet's text names Binchois alongside the composer
2801:. Constellatio Musica 18 (in Italian). Palermo: L'Epos.
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2134:
2132:
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See a more complete list of Binchois' contemporaries in
715:
Lamentatio sanctae matris ecclesiae Constantinopolitanae
3532:
Stainer, John Frederick Randall (1904). "Binchois". In
3364:(1975). "Dufay at Cambrai: Discoveries and Revisions".
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was not a priority to Binchois, who instead emphasized
514:(1880) which refers to the chorister Jean de Binche at
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2410:
2258:
2246:
2234:
2129:
2108:
2012:
1983:
1903:
1098:) and a variety of smaller sacred works. No complete
804:
remarked that "Binchois cultivated the gently subtle
2051:
2039:
2024:
1702:
926:
intervals and often highlighted duets within larger
2524:
1753:
1751:
1749:
1747:
1745:
1743:
1741:
1739:
1737:
1369:
Musicians of the Burgundy court in the 15th century
1365:
Les musiciens de la cour de Bourgogne au XVe siĂšcle
908:Like Du Fay, Binchois was deeply influenced by the
372:(modern-day Belgium) to an upper-class family from
3065:
3019:
2992:
2946:
2911:
2656:
2063:
1632:
1151:is his sacred texture of choice, typically in the
700:were active there, while the contemporary writers
533:. Binchois might have served under the Englishman
495:, a few miles from Mons, as is sometimes assumed.
16:Franco-Flemish Renaissance composer (c. 1400â1460)
3228:(November 1924). "L'origine de Gilles Binchois".
2555:
617:Among the residents of the court was the painter
4934:
3424:(in French). Vol. 1 (2nd ed.). Paris:
3219:, § "Bibliography") for extensive bibliographies
1734:
819:Most commentators agree that Binchois was not a
2749:Guillaume de Machaut: Secretary, Poet, Musician
2682:Kirkman, Andrew; Slavin, Dennis, eds. (2000).
1539:and Renaissance music. Other examples include
973:became the dominant chanson-type of the three
942:by Power and Dunstable, along with a motet by
4108:
3821:
3627:
3603:
3367:Journal of the American Musicological Society
3212:
2711:
2681:
1670:
353:. He is generally ranked below his colleague
308:
3021:"Du Fay [Dufay; Du Fayt], Guillaume"
1393:Die Chansons von Gilles Binchois (1400â1460)
991:. Other stylistic tropes include the use of
384:and probably a soldier under the Englishman
2881:. Henryville: Institute of Medieval Music.
1042:. Scholars note that his tendency to favor
835:
467:?). His parents were of the upper class in
4115:
4101:
3828:
3814:
3634:
3620:
3185:
2154:
1894:
1725:
1693:
1295:(2 ed.). Amsterdam: Frits A.M. Knuf.
995:(Landini cadences), the favoring of short
987:, save for the rondeau "Seule esgaree" in
663:. Probably due to Philip's favor, he held
315:
301:
25:Binchois (right) holding a small harp and
3835:
3593:International Music Score Library Project
3539:Grove's Dictionary of Music and Musicians
3459:Vierteljahrsschrift fĂŒr Musikwissenschaft
3014:
2879:Music at the Court of Burgundy, 1364-1419
2576:, §2 "Reputation and influence", para. 3.
1958:
1924:
529:, composed in his memory by the composer
3497:
2918:The Oxford Dictionary of the Renaissance
2906:
2033:
1102:is extant and although scholars such as
957:
790:, 28 smaller sacred works, a variety of
559:
20:
3574:Digital Image Archive of Medieval Music
3570:List of compositions by Gilles Binchois
3531:
3265:
3256:
3224:
3216:
3123:
3040:10.1093/gmo/9781561592630.article.08268
2967:10.1093/gmo/9781561592630.article.03094
2941:
2706:
2623:
2573:
2549:
2518:
2499:
2470:
2455:
2443:
2431:
2404:
2380:
2344:
2332:
2320:
2308:
2276:
2211:
2196:
2184:
2169:
2102:
2018:
2006:
1977:
1943:
1860:
1841:
1809:
1794:
1782:
1655:
1526:for a broader list of the entire period
679:
535:William de la Pole, 1st Duke of Suffolk
4935:
3436:
3360:
3308:. Oxford monographs on music. Oxford:
3154:
2873:
2845:
2815:
2627:The Religious Music of Gilles Binchois
2605:. Oxford Studies of Composer. Oxford:
2482:
2416:
2392:
2359:
2264:
2252:
2240:
2142:
2123:
1989:
1909:
1713:
1156:sacred works most similar to those of
983:. His songs are almost exclusively in
635:. They likely met, alongside the poet
621:, who, according to the art historian
487:, the same city in which the composer
475:; his father was a councillor to Duke
4963:15th-century Franco-Flemish composers
4122:
4096:
3809:
3641:
3615:
3602:
3407:
3334:
3063:
2990:
2852:The Rise of European Music, 1380-1500
2796:
2770:
2742:
2654:
2293:
2228:
2214:, §4 "Binchois and England", para. 2.
2090:
2057:
2045:
1879:
1824:
1757:
1638:
1519:
877:(1481). Binchois' progressive use of
625:, may have portrayed Binchois in the
3421:Biographie universelle des musiciens
3303:
3094:
2720:
2597:
2561:
2530:
2069:
1574:
1443:
1387:
1347:Plainsong and Medieval Music Society
1319:DenkmĂ€ler der Tonkunst in Ăsterreich
1233:
1229:
3067:"Binchois [Gilles de Bins]"
1446:The Sacred Music of Gilles Binchois
1425:The Sacred Works of Gilles Binchois
1126:(octave-leap cadences), less major
555:
13:
3261:. Vol. 117. pp. 100â135.
3205:
3187:"Binchois | Flemish composer"
768:Triste plaisir et douleureuse joye
751:Triste plaisir et douleureuse joye
14:
4974:
3563:
2899:Journal and encyclopedia articles
4953:Belgian male classical composers
4920:
4908:
4896:
4864:
4855:
4854:
4390:Giovanni Pierluigi da Palestrina
2407:, §6 "Secular works", paras 5â6.
1545:Armes, amours/O flour des flours
922:, which uniquely emphasized the
889:are occasionally treated with a
761:
550:Ainsi que a la foiz mây souvient
3534:Maitland, John Alexander Fuller
3428:. pp. 417â419 – via
2797:Rossi, Francesco Rocco (2008).
2710:. "Binchois and the Poets". In
1607:
1590:
1580:
1529:
1512:
1502:
1283:; Stainer, Cecie, eds. (1963).
1281:Stainer, John Frederick Randall
1246:; Stainer, Cecie, eds. (1898).
1244:Stainer, John Frederick Randall
1052:Guillaume Du Fay's compositions
481:Jacqueline, Countess of Hainaut
3589:Free scores by Gilles Binchois
3579:Free scores by Gilles Binchois
3376:University of California Press
3342:(revised ed.). New York:
3277:] (in German). Göttingen:
2383:, §6 "Secular works", para. 5.
2347:, §6 "Secular works", para. 2.
2311:, §6 "Secular works", para. 4.
2279:, §6 "Secular works", para. 1.
1486:
1477:
471:and probably from the town of
1:
4133:List of Renaissance composers
3197:EncyclopĂŠdia Britannica, Inc.
3073:The Oxford Companion to Music
2823:Music in Late Medieval Bruges
2521:, §7 "Sacred works", para. 6.
2502:, §7 "Sacred works", para. 1.
2473:, §7 "Sacred works", para. 4.
2458:, §7 "Sacred works", para. 3.
2172:, §7 "Sacred works", para. 5.
1524:List of Renaissance composers
1465:
1444:Kaye, Philip R., ed. (1991).
724:Mort, tu as navré de ton dart
429:
335:
34:
3583:Choral Public Domain Library
3401:Works of historical interest
3127:Archiv fĂŒr Musikwissenschaft
3057:UK public library membership
3016:Planchart, Alejandro Enrique
2984:UK public library membership
2655:Brown, Howard Mayer (1976).
2446:, §7 "Sacred works", para 3.
1625:
962:Watercolor of Binchois from
670:Passions en nouvelle maniere
591:Anthony, bastard of Burgundy
537:, who was in France for the
462:
451:
7:
4958:Burgundian school composers
4948:Belgian classical composers
3070:. In Latham, Alison (ed.).
2712:Kirkman & Slavin (2000)
1363:Marix, Jeanne, ed. (1937).
1221:
1136:and less regular symmetry.
823:composer. The musicologist
328:Gilles de Bins dit Binchois
10:
4979:
4763:Petrus Phalesius the Elder
4578:English Virginalist School
3344:W. W. Norton & Company
3279:Vandenhoeck & Ruprecht
3213:Kirkman & Slavin (2000
2994:"Binchois, Gilles de Bins"
2991:Korth, Hans-Otto (2016) .
2913:"Binchois, Gilles de Bins"
2857:Cambridge University Press
2780:W. W. Norton & Company
2583:
1321:. Vol. XXXI. Vienna:
1133:tempus perfectum diminutum
953:
388:, eventually in Paris and
345:. A central figure of the
4834:
4786:
4713:
4652:
4606:
4553:
4545:Jan Pieterszoon Sweelinck
4428:
4315:
4227:
4139:
4130:
4039:
3993:
3932:
3876:
3843:
3782:
3761:
3740:
3649:
3609:
3604:Links to related articles
3158:The Journal of Musicology
2624:Boucher, Joan A. (1963).
1671:Kirkman & Slavin 2000
1559:(1497) for Ockeghem, and
1167:
1081:
760:
749:
744:
726:; its opening appears to
684:He eventually retired in
404:and was awarded numerous
357:and the English composer
3340:Music in the Renaissance
3304:Kemp, Walter H. (1990).
3215:, pp. 331â342) and
2754:Cornell University Press
2659:Music in the Renaissance
1470:
1016:Charles, Duke of Orléans
737:
527:Deploration for Binchois
456:?) and his wife Jeanne,
380:post. By 1423 he was in
4573:English Madrigal School
3542:. Vol. 1. London:
3192:EncyclopĂŠdia Britannica
3134:(Jahrg., H. 1): 68â78.
3078:Oxford University Press
3064:Pryer, Anthony (2011).
3032:Oxford University Press
3010:(subscription required)
2959:Oxford University Press
2937:(subscription required)
2922:Oxford University Press
2690:Oxford University Press
2607:Oxford University Press
1797:, §1 "Life", paras 1â2.
1522:, pp. 59â65). See
1450:Oxford University Press
1423:Parris, Arthur (1964).
1422:
1362:
1339:Van den Borren, Charles
1337:
1315:Sieben Trienter Codices
1309:
1279:
1242:
1094:settings (particularly
801:EncyclopĂŠdia Britannica
712:in Lille, as the motet
424:
418:EncyclopĂŠdia Britannica
4415:TomĂĄs Luis de Victoria
4219:Oswald von Wolkenstein
4006:Jacob Clemens non Papa
3515:. Vol. 3. Ghent:
3475:Breitkopf & HĂ€rtel
3409:Fétis, François-Joseph
2827:(2 ed.). Oxford:
2187:, §8 "Style", para. 4.
2105:, §8 "Style", para. 1.
1397:Musikalische DenkmÀler
1291:; musical analysis by
1260:(1 ed.). London:
1256:; musical analysis by
1180:
966:
895:common practice period
578:
477:William IV of Hainault
51:
41:Illuminated manuscript
4435:Transition to Baroque
4380:Pierre de Manchicourt
4021:Pierre de Manchicourt
3837:Franco-Flemish School
3795:Franco-Flemish School
3442:Chrysander, Friedrich
3003:(in German). Kassel:
2009:, §1 "Life", para. 7.
1980:, §1 "Life", para. 5.
1946:, §1 "Life", para. 6.
1863:, §1 "Life", para. 4.
1844:, §1 "Life", para. 3.
1812:, §1 "Life", para. 2.
1785:, §1 "Life", para. 1.
1172:
1162:Johannes de Limburgia
1076:Renaissance composers
964:Le Champion des dames
961:
881:is an exception: the
710:Feast of the Pheasant
706:Lodovico Guicciardini
641:Le champion des dames
573:(1432). According to
563:
368:Binchois was born in
100:Movements and schools
88:Transition to Baroque
49:Le champion des dames
24:
4465:Girolamo Frescobaldi
4272:CristĂłbal de Morales
3519:. pp. 136â151.
3257:Dewitte, A. (1970).
3230:Revue de Musicologie
3097:Revue de Musicologie
2744:Leach, Elizabeth Eva
2663:. Englewood Cliffs:
1618:was set by Binchois.
1549:Guillaume de Machaut
993:under-third cadences
680:Final Soignies years
400:, where he became a
4583:Florentine Camerata
4555:Composition schools
4214:Gaspar van Weerbeke
3692:Hayne van Ghizeghem
3499:Pinchart, Alexandre
3426:Firmin Didot FrĂšres
2714:, pp. 119â220.
2552:, § "Introduction".
2395:, pp. 347â348.
2362:, pp. 346â347.
2335:, pp. 204â206.
1927:, § "Introduction".
1124:Burgundian cadences
1069:. The musicologist
948:contenance angloise
911:contenance angloise
875:Nove cantum melodie
850:) tradition of the
694:Guillaume Malbecque
609:. The musicologist
607:Alexander The Great
597:. The musicologist
587:Nove cantum melodie
137:English Virginalist
122:Florentine Camerata
4778:Thomas Vautrollier
4758:Ottaviano Petrucci
4733:Pierre Attaingnant
4723:Hieronymus Andreae
4530:Michael Praetorius
4515:Claudio Monteverdi
4505:Giovanni de Macque
4500:Luzzasco Luzzaschi
4470:Alfonso Fontanelli
4360:Francisco Guerrero
4335:Antonio de CabezĂłn
4247:Thomas Crecquillon
4229:Middle (1470â1530)
4209:Johannes Tinctoris
4149:Alexander Agricola
4057:Giovanni de Macque
4011:Thomas Crecquillon
3970:Matthaeus Pipelare
3924:Johannes Tinctoris
3909:Marbrianus de Orto
3884:Alexander Agricola
3727:Johannes Tapissier
3722:Guillaume le Rouge
3544:Macmillan & Co
3281:. pp. 25â35.
3199:16 September 2021.
3027:Grove Music Online
2954:Grove Music Online
2727:The Man Who Laughs
1616:William de la Pole
1311:Ficker, Rudolf von
1287:. Introduction by
1252:. Introduction by
1185:The Man Who Laughs
1104:Laurence Feininger
1024:Christine de Pizan
967:
702:Jacobus Lessabaeus
579:
539:Hundred Years' War
386:William de la Pole
52:
4884:
4883:
4878:
4877:
4475:Giovanni Gabrieli
4302:Philippe Verdelot
4199:Johannes Ockeghem
4141:Early (1400â1470)
4124:Renaissance music
4090:
4089:
4062:Philippe de Monte
3904:Johannes Ockeghem
3899:Guillaume Faugues
3803:
3802:
3790:Music of Burgundy
3707:Reginaldus Libert
3662:Arnold de Lantins
3643:Burgundian School
3319:978-0-19-816135-6
3288:978-3-525-27820-8
3087:978-0-19-957903-7
3055:(subscription or
3049:978-1-56159-263-0
2982:(subscription or
2976:978-1-56159-263-0
2931:978-0-19-860175-3
2888:978-0-912024-25-7
2866:978-0-521-61934-9
2838:978-0-19-316418-5
2808:978-88-8302-360-6
2789:978-0-393-09750-4
2763:978-1-5017-0486-4
2699:978-0-19-816668-9
2674:978-0-13-608497-6
2632:Boston University
2616:978-0-19-315225-0
1658:, §2 "Portraits".
1429:Bryn Mawr College
1371:]. New York:
1359:2nd edition, 1962
1323:Universal Edition
1158:Johannes Brassart
1130:, more selective
1044:musical structure
885:scale-degree and
872:isorhythmic motet
828:the 12th-century
774:
773:
755:Sollazzo Ensemble
753:performed by the
654:Arnold de Lantins
531:Johannes Ockeghem
516:Cambrai Cathedral
489:Orlande de Lassus
485:County of Hainaut
347:Burgundian School
343:Renaissance music
325:
324:
67:Renaissance music
4970:
4925:
4924:
4923:
4913:
4912:
4911:
4901:
4900:
4899:
4892:
4868:
4858:
4857:
4738:Vittorio Baldini
4715:Music publishing
4490:Hans Leo Hassler
4445:Gregorio Allegri
4400:Cipriano de Rore
4375:Vicente Lusitano
4370:Orlando di Lasso
4325:Jacques Arcadelt
4292:Pierre de la Rue
4287:Josquin des Prez
4267:Clément Janequin
4262:Antoine de FĂ©vin
4252:Antonius Divitis
4194:Johannes Martini
4169:Guillaume Du Fay
4117:
4110:
4103:
4094:
4093:
4047:Orlando di Lasso
4026:Cipriano de Rore
4001:Jacques Arcadelt
3985:Pierre de la Rue
3975:Josquin des Prez
3950:Antoine de FĂ©vin
3945:Antonius Divitis
3914:Johannes Prioris
3868:Johannes Pullois
3853:Guillaume Du Fay
3830:
3823:
3816:
3807:
3806:
3769:Guillaume Du Fay
3753:Johannes Legrant
3677:Johannes Cesaris
3636:
3629:
3622:
3613:
3612:
3600:
3599:
3559:
3528:
3514:
3494:
3467:
3454:"Wilhelm du Fay"
3433:
3417:
3395:
3357:
3331:
3300:
3262:
3253:
3200:
3182:
3151:
3120:
3091:
3069:
3060:
3053:
3023:
3011:
3008:
2996:
2987:
2980:
2950:
2938:
2935:
2915:
2908:Campbell, Gordon
2892:
2875:Wright, Craig M.
2870:
2847:Strohm, Reinhard
2842:
2826:
2817:Strohm, Reinhard
2812:
2799:Guillaume Du Fay
2793:
2767:
2739:
2715:
2703:
2685:Binchois Studies
2678:
2662:
2651:
2620:
2577:
2571:
2565:
2559:
2553:
2547:
2534:
2528:
2522:
2516:
2503:
2497:
2486:
2480:
2474:
2468:
2459:
2453:
2447:
2441:
2435:
2429:
2420:
2414:
2408:
2402:
2396:
2390:
2384:
2378:
2363:
2357:
2348:
2342:
2336:
2330:
2324:
2318:
2312:
2306:
2297:
2291:
2280:
2274:
2268:
2262:
2256:
2250:
2244:
2238:
2232:
2226:
2215:
2209:
2200:
2194:
2188:
2182:
2173:
2167:
2161:
2152:
2146:
2140:
2127:
2121:
2106:
2100:
2094:
2088:
2073:
2067:
2061:
2055:
2049:
2043:
2037:
2031:
2022:
2016:
2010:
2004:
1993:
1987:
1981:
1975:
1962:
1956:
1947:
1941:
1928:
1922:
1913:
1907:
1901:
1892:
1883:
1877:
1864:
1858:
1845:
1839:
1828:
1822:
1813:
1807:
1798:
1792:
1786:
1780:
1761:
1755:
1732:
1723:
1717:
1711:
1700:
1691:
1674:
1668:
1659:
1653:
1642:
1636:
1619:
1611:
1605:
1594:
1588:
1587:establishments".
1584:
1578:
1557:Nymphes des bois
1553:Josquin des Prez
1533:
1527:
1516:
1510:
1506:
1500:
1490:
1484:
1481:
1461:
1440:
1419:
1405:
1384:
1358:
1343:Polyphonia Sacra
1334:
1304:
1289:Edward Nicholson
1273:
1262:Novello & Co
1254:Edward Nicholson
1192:
1144:text declamation
1112:
849:
846:
843:
840:
837:
794:, as well as 54
765:
764:
742:
741:
633:Guillaume Du Fay
556:Burgundian court
543:Estienne Grossin
513:
466:
464:
455:
453:
408:. He retired to
355:Guillaume Du Fay
340:
337:
317:
310:
303:
280:â Medieval music
142:English Madrigal
75:
54:
53:
39:
36:
29:(left) beside a
27:Guillaume Du Fay
4978:
4977:
4973:
4972:
4971:
4969:
4968:
4967:
4933:
4932:
4931:
4921:
4919:
4909:
4907:
4903:Classical music
4897:
4895:
4887:
4885:
4880:
4879:
4874:
4851:
4843:
4830:
4782:
4768:Girolamo Scotto
4753:Antonio Gardano
4709:
4648:
4602:
4549:
4540:Heinrich SchĂŒtz
4535:Philippe Rogier
4485:Orlando Gibbons
4437:
4433:
4424:
4420:Giaches de Wert
4410:Christopher Tye
4365:Claude Le Jeune
4355:Claude Goudimel
4350:Nicolas Gombert
4345:Andrea Gabrieli
4340:Jacobus Clemens
4311:
4307:Adrian Willaert
4237:Martin Agricola
4223:
4159:Antoine Busnois
4154:Gilles Binchois
4135:
4126:
4121:
4091:
4086:
4082:Giaches de Wert
4072:Philippe Rogier
4052:Carolus Luython
4035:
4031:Adrian Willaert
4016:Nicolas Gombert
3989:
3928:
3872:
3863:Antoine Busnois
3858:Gilles Binchois
3839:
3834:
3804:
3799:
3778:
3757:
3748:Hugo de Lantins
3736:
3712:Clement Liebert
3687:Pierre Fontaine
3672:Antoine Busnois
3667:Gilles Binchois
3645:
3640:
3605:
3566:
3512:
3461:
3446:Spitta, Philipp
3415:
3354:
3320:
3310:Clarendon Press
3289:
3236:(12): 149â151.
3226:Closson, Ernest
3208:
3206:Further reading
3203:
3088:
3054:
3050:
3009:
2981:
2977:
2936:
2932:
2895:
2889:
2867:
2839:
2829:Clarendon Press
2809:
2790:
2764:
2700:
2675:
2617:
2586:
2581:
2580:
2572:
2568:
2560:
2556:
2548:
2537:
2529:
2525:
2517:
2506:
2498:
2489:
2481:
2477:
2469:
2462:
2454:
2450:
2442:
2438:
2430:
2423:
2415:
2411:
2403:
2399:
2391:
2387:
2379:
2366:
2358:
2351:
2343:
2339:
2331:
2327:
2319:
2315:
2307:
2300:
2292:
2283:
2275:
2271:
2263:
2259:
2251:
2247:
2239:
2235:
2227:
2218:
2210:
2203:
2195:
2191:
2183:
2176:
2168:
2164:
2153:
2149:
2141:
2130:
2122:
2109:
2101:
2097:
2089:
2076:
2068:
2064:
2056:
2052:
2044:
2040:
2032:
2025:
2017:
2013:
2005:
1996:
1988:
1984:
1976:
1965:
1957:
1950:
1942:
1931:
1923:
1916:
1908:
1904:
1893:
1886:
1878:
1867:
1859:
1848:
1840:
1831:
1823:
1816:
1808:
1801:
1793:
1789:
1781:
1764:
1756:
1735:
1724:
1720:
1712:
1703:
1692:
1677:
1669:
1662:
1654:
1645:
1637:
1633:
1628:
1623:
1622:
1612:
1608:
1595:
1591:
1585:
1581:
1566:Ye Sacred Muses
1534:
1530:
1517:
1513:
1507:
1503:
1491:
1487:
1482:
1478:
1473:
1468:
1399:
1224:
1203:Reinhard Strohm
1194:
1182:
1170:
1147:standard then.
1106:
1084:
1005:Hans-Otto Korth
956:
932:Gordon Campbell
924:third and sixth
847:
844:
841:
838:
825:Reinhard Strohm
762:
745:External videos
740:
682:
650:Hugo de Lantins
637:Martin le Franc
611:Reinhard Strohm
603:Philip the Good
595:Pierre Fontaine
558:
507:
461:
450:
432:
427:
398:Philip the Good
338:
321:
290:
287:Baroque music â
283:
270:
269:
268:
236:
228:
227:
226:
156:
148:
147:
146:
101:
91:
90:
73:
45:Martin le Franc
37:
31:portative organ
17:
12:
11:
5:
4976:
4966:
4965:
4960:
4955:
4950:
4945:
4930:
4929:
4917:
4905:
4882:
4881:
4876:
4875:
4873:
4872:
4862:
4844:
4840:Medieval music
4836:
4835:
4832:
4831:
4829:
4828:
4827:
4826:
4821:
4816:
4811:
4806:
4796:
4790:
4788:
4784:
4783:
4781:
4780:
4775:
4773:Tielman Susato
4770:
4765:
4760:
4755:
4750:
4748:Valerio Dorico
4745:
4740:
4735:
4730:
4725:
4719:
4717:
4711:
4710:
4708:
4707:
4702:
4697:
4692:
4687:
4682:
4677:
4672:
4667:
4662:
4656:
4654:
4650:
4649:
4647:
4646:
4641:
4636:
4631:
4626:
4621:
4616:
4610:
4608:
4604:
4603:
4601:
4600:
4595:
4590:
4588:Franco-Flemish
4585:
4580:
4575:
4570:
4565:
4559:
4557:
4551:
4550:
4548:
4547:
4542:
4537:
4532:
4527:
4522:
4517:
4512:
4507:
4502:
4497:
4492:
4487:
4482:
4480:Carlo Gesualdo
4477:
4472:
4467:
4462:
4457:
4452:
4450:Thomas Campion
4447:
4441:
4439:
4426:
4425:
4423:
4422:
4417:
4412:
4407:
4402:
4397:
4395:Costanzo Porta
4392:
4387:
4385:Hans Neusidler
4382:
4377:
4372:
4367:
4362:
4357:
4352:
4347:
4342:
4337:
4332:
4327:
4321:
4319:
4313:
4312:
4310:
4309:
4304:
4299:
4294:
4289:
4284:
4279:
4274:
4269:
4264:
4259:
4257:Costanzo Festa
4254:
4249:
4244:
4242:Antoine Brumel
4239:
4233:
4231:
4225:
4224:
4222:
4221:
4216:
4211:
4206:
4201:
4196:
4191:
4186:
4184:Heinrich Isaac
4181:
4176:
4174:John Dunstaple
4171:
4166:
4164:Loyset CompĂšre
4161:
4156:
4151:
4145:
4143:
4137:
4136:
4131:
4128:
4127:
4120:
4119:
4112:
4105:
4097:
4088:
4087:
4085:
4084:
4079:
4074:
4069:
4064:
4059:
4054:
4049:
4043:
4041:
4040:5th generation
4037:
4036:
4034:
4033:
4028:
4023:
4018:
4013:
4008:
4003:
3997:
3995:
3994:4th generation
3991:
3990:
3988:
3987:
3982:
3980:Jean Richafort
3977:
3972:
3967:
3962:
3957:
3955:Heinrich Isaac
3952:
3947:
3942:
3940:Antoine Brumel
3936:
3934:
3933:3rd generation
3930:
3929:
3927:
3926:
3921:
3919:Johannes Regis
3916:
3911:
3906:
3901:
3896:
3894:Firminus Caron
3891:
3889:Loyset CompĂšre
3886:
3880:
3878:
3877:2nd generation
3874:
3873:
3871:
3870:
3865:
3860:
3855:
3849:
3847:
3845:1st generation
3841:
3840:
3833:
3832:
3825:
3818:
3810:
3801:
3800:
3798:
3797:
3792:
3786:
3784:
3780:
3779:
3777:
3776:
3774:John Dunstaple
3771:
3765:
3763:
3759:
3758:
3756:
3755:
3750:
3744:
3742:
3738:
3737:
3735:
3734:
3729:
3724:
3719:
3714:
3709:
3704:
3699:
3697:Nicolas Grenon
3694:
3689:
3684:
3679:
3674:
3669:
3664:
3659:
3653:
3651:
3647:
3646:
3639:
3638:
3631:
3624:
3616:
3610:
3607:
3606:
3597:
3596:
3586:
3576:
3565:
3564:External links
3562:
3561:
3560:
3529:
3495:
3434:
3413:"AaronâBohrer"
3404:
3403:
3397:
3396:
3384:10.2307/830766
3358:
3352:
3336:Reese, Gustave
3332:
3318:
3301:
3287:
3267:Fallows, David
3263:
3254:
3242:10.2307/926163
3207:
3204:
3202:
3201:
3183:
3171:10.2307/763654
3165:(3): 342â361.
3152:
3140:10.2307/930600
3121:
3109:10.2307/947006
3092:
3086:
3061:
3048:
3012:
2988:
2975:
2943:Fallows, David
2939:
2930:
2903:
2902:
2901:
2894:
2893:
2887:
2871:
2865:
2843:
2837:
2813:
2807:
2794:
2788:
2772:Reese, Gustave
2768:
2762:
2740:
2718:
2717:
2716:
2708:Fallows, David
2698:
2679:
2673:
2652:
2630:(PhD thesis).
2621:
2615:
2599:Bent, Margaret
2594:
2593:
2592:
2585:
2582:
2579:
2578:
2566:
2554:
2535:
2533:, p. 391.
2523:
2504:
2487:
2485:, p. 244.
2475:
2460:
2448:
2436:
2421:
2419:, p. 347.
2409:
2397:
2385:
2364:
2349:
2337:
2325:
2323:, p. 204.
2313:
2298:
2281:
2269:
2267:, p. 247.
2257:
2255:, p. 245.
2245:
2243:, p. 243.
2233:
2216:
2201:
2199:, p. 187.
2189:
2174:
2162:
2147:
2145:, p. 182.
2128:
2126:, p. 342.
2107:
2095:
2074:
2062:
2060:, p. 304.
2050:
2048:, p. 358.
2038:
2023:
2011:
1994:
1992:, p. 153.
1982:
1963:
1959:Planchart 2004
1948:
1929:
1925:Planchart 2004
1914:
1912:, p. 163.
1902:
1884:
1865:
1846:
1829:
1814:
1799:
1787:
1762:
1733:
1718:
1716:, p. 129.
1701:
1675:
1660:
1643:
1630:
1629:
1627:
1624:
1621:
1620:
1606:
1602:John Bedyngham
1589:
1579:
1528:
1511:
1501:
1492:The composers
1485:
1475:
1474:
1472:
1469:
1467:
1464:
1463:
1462:
1441:
1420:
1391:, ed. (1957).
1389:Rehm, Wolfgang
1385:
1360:
1341:, ed. (1932).
1335:
1313:, ed. (1924).
1307:
1306:
1305:
1239:
1238:
1223:
1220:
1198:John Dunstable
1171:
1169:
1166:
1083:
1080:
1062:-Renaissance.
1032:New Year's Day
1020:Alain Chartier
955:
952:
916:John Dunstaple
891:tonal approach
831:amour courtois
786:movements, 32
772:
771:
758:
757:
747:
746:
739:
736:
698:Johannes Regis
681:
678:
623:Erwin Panofsky
575:Erwin Panofsky
557:
554:
431:
428:
426:
423:
359:John Dunstaple
323:
322:
320:
319:
312:
305:
297:
294:
293:
292:
291:
284:
277:
272:
271:
267:
266:
261:
256:
251:
244:
238:
237:
234:
233:
230:
229:
225:
224:
219:
214:
209:
204:
199:
194:
189:
184:
179:
174:
169:
164:
158:
157:
154:
153:
150:
149:
145:
144:
139:
134:
129:
124:
119:
114:
112:Franco-Flemish
109:
103:
102:
99:
98:
95:
94:
93:
92:
82:
77:
76:
70:
69:
63:
62:
15:
9:
6:
4:
3:
2:
4975:
4964:
4961:
4959:
4956:
4954:
4951:
4949:
4946:
4944:
4941:
4940:
4938:
4928:
4918:
4916:
4906:
4904:
4894:
4893:
4890:
4871:
4867:
4863:
4861:
4853:
4852:
4849:
4848:
4847:Baroque music
4842:
4841:
4833:
4825:
4822:
4820:
4817:
4815:
4812:
4810:
4807:
4805:
4802:
4801:
4800:
4797:
4795:
4792:
4791:
4789:
4785:
4779:
4776:
4774:
4771:
4769:
4766:
4764:
4761:
4759:
4756:
4754:
4751:
4749:
4746:
4744:
4741:
4739:
4736:
4734:
4731:
4729:
4728:Andrea Antico
4726:
4724:
4721:
4720:
4718:
4716:
4712:
4706:
4703:
4701:
4698:
4696:
4693:
4691:
4688:
4686:
4683:
4681:
4678:
4676:
4673:
4671:
4668:
4666:
4663:
4661:
4658:
4657:
4655:
4651:
4645:
4642:
4640:
4637:
4635:
4632:
4630:
4627:
4625:
4622:
4620:
4617:
4615:
4612:
4611:
4609:
4607:Musical forms
4605:
4599:
4596:
4594:
4591:
4589:
4586:
4584:
4581:
4579:
4576:
4574:
4571:
4569:
4566:
4564:
4561:
4560:
4558:
4556:
4552:
4546:
4543:
4541:
4538:
4536:
4533:
4531:
4528:
4526:
4523:
4521:
4520:Thomas Morley
4518:
4516:
4513:
4511:
4510:Luca Marenzio
4508:
4506:
4503:
4501:
4498:
4496:
4493:
4491:
4488:
4486:
4483:
4481:
4478:
4476:
4473:
4471:
4468:
4466:
4463:
4461:
4458:
4456:
4453:
4451:
4448:
4446:
4443:
4442:
4440:
4436:
4431:
4427:
4421:
4418:
4416:
4413:
4411:
4408:
4406:
4405:Thomas Tallis
4403:
4401:
4398:
4396:
4393:
4391:
4388:
4386:
4383:
4381:
4378:
4376:
4373:
4371:
4368:
4366:
4363:
4361:
4358:
4356:
4353:
4351:
4348:
4346:
4343:
4341:
4338:
4336:
4333:
4331:
4328:
4326:
4323:
4322:
4320:
4318:
4314:
4308:
4305:
4303:
4300:
4298:
4297:John Taverner
4295:
4293:
4290:
4288:
4285:
4283:
4282:Jacob Obrecht
4280:
4278:
4275:
4273:
4270:
4268:
4265:
4263:
4260:
4258:
4255:
4253:
4250:
4248:
4245:
4243:
4240:
4238:
4235:
4234:
4232:
4230:
4226:
4220:
4217:
4215:
4212:
4210:
4207:
4205:
4202:
4200:
4197:
4195:
4192:
4190:
4187:
4185:
4182:
4180:
4177:
4175:
4172:
4170:
4167:
4165:
4162:
4160:
4157:
4155:
4152:
4150:
4147:
4146:
4144:
4142:
4138:
4134:
4129:
4125:
4118:
4113:
4111:
4106:
4104:
4099:
4098:
4095:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4067:Jacob Regnart
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4048:
4045:
4044:
4042:
4038:
4032:
4029:
4027:
4024:
4022:
4019:
4017:
4014:
4012:
4009:
4007:
4004:
4002:
3999:
3998:
3996:
3992:
3986:
3983:
3981:
3978:
3976:
3973:
3971:
3968:
3966:
3965:Jacob Obrecht
3963:
3961:
3958:
3956:
3953:
3951:
3948:
3946:
3943:
3941:
3938:
3937:
3935:
3931:
3925:
3922:
3920:
3917:
3915:
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3882:
3881:
3879:
3875:
3869:
3866:
3864:
3861:
3859:
3856:
3854:
3851:
3850:
3848:
3846:
3842:
3838:
3831:
3826:
3824:
3819:
3817:
3812:
3811:
3808:
3796:
3793:
3791:
3788:
3787:
3785:
3781:
3775:
3772:
3770:
3767:
3766:
3764:
3760:
3754:
3751:
3749:
3746:
3745:
3743:
3739:
3733:
3730:
3728:
3725:
3723:
3720:
3718:
3717:Robert Morton
3715:
3713:
3710:
3708:
3705:
3703:
3700:
3698:
3695:
3693:
3690:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3654:
3652:
3648:
3644:
3637:
3632:
3630:
3625:
3623:
3618:
3617:
3614:
3608:
3601:
3594:
3590:
3587:
3584:
3580:
3577:
3575:
3571:
3568:
3567:
3557:
3553:
3549:
3545:
3541:
3540:
3535:
3530:
3526:
3522:
3518:
3517:L. Hebbelynck
3510:
3506:
3505:
3500:
3496:
3492:
3488:
3484:
3480:
3476:
3472:
3468:
3465:
3460:
3455:
3451:
3447:
3443:
3439:
3435:
3431:
3427:
3423:
3422:
3414:
3410:
3406:
3405:
3402:
3399:
3398:
3393:
3389:
3385:
3381:
3377:
3373:
3369:
3368:
3363:
3362:Wright, Craig
3359:
3355:
3353:0-393-09530-4
3349:
3345:
3341:
3337:
3333:
3329:
3325:
3321:
3315:
3311:
3307:
3302:
3298:
3294:
3290:
3284:
3280:
3276:
3272:
3268:
3264:
3260:
3255:
3251:
3247:
3243:
3239:
3235:
3231:
3227:
3223:
3222:
3221:
3220:
3218:
3217:Fallows (2001
3214:
3198:
3194:
3193:
3188:
3184:
3180:
3176:
3172:
3168:
3164:
3160:
3159:
3153:
3149:
3145:
3141:
3137:
3133:
3130:(in German).
3129:
3128:
3122:
3118:
3114:
3110:
3106:
3102:
3098:
3093:
3089:
3083:
3079:
3075:
3074:
3068:
3062:
3058:
3051:
3045:
3041:
3037:
3033:
3029:
3028:
3022:
3017:
3013:
3006:
3002:
3001:
2995:
2989:
2985:
2978:
2972:
2968:
2964:
2960:
2956:
2955:
2949:
2944:
2940:
2933:
2927:
2923:
2919:
2914:
2909:
2905:
2904:
2900:
2897:
2896:
2890:
2884:
2880:
2876:
2872:
2868:
2862:
2858:
2855:. Cambridge:
2854:
2853:
2848:
2844:
2840:
2834:
2830:
2825:
2824:
2818:
2814:
2810:
2804:
2800:
2795:
2791:
2785:
2781:
2777:
2773:
2769:
2765:
2759:
2755:
2751:
2750:
2745:
2741:
2737:
2733:
2729:
2728:
2723:
2719:
2713:
2709:
2705:
2704:
2701:
2695:
2691:
2687:
2686:
2680:
2676:
2670:
2666:
2665:Prentice Hall
2661:
2660:
2653:
2649:
2645:
2641:
2637:
2633:
2629:
2628:
2622:
2618:
2612:
2608:
2604:
2600:
2596:
2595:
2591:
2588:
2587:
2575:
2570:
2563:
2558:
2551:
2546:
2544:
2542:
2540:
2532:
2527:
2520:
2515:
2513:
2511:
2509:
2501:
2496:
2494:
2492:
2484:
2479:
2472:
2467:
2465:
2457:
2452:
2445:
2440:
2433:
2428:
2426:
2418:
2413:
2406:
2401:
2394:
2389:
2382:
2377:
2375:
2373:
2371:
2369:
2361:
2356:
2354:
2346:
2341:
2334:
2329:
2322:
2317:
2310:
2305:
2303:
2295:
2290:
2288:
2286:
2278:
2273:
2266:
2261:
2254:
2249:
2242:
2237:
2230:
2225:
2223:
2221:
2213:
2208:
2206:
2198:
2193:
2186:
2181:
2179:
2171:
2166:
2159:
2157:
2151:
2144:
2139:
2137:
2135:
2133:
2125:
2120:
2118:
2116:
2114:
2112:
2104:
2099:
2092:
2087:
2085:
2083:
2081:
2079:
2072:, p. 31.
2071:
2066:
2059:
2054:
2047:
2042:
2035:
2034:Campbell 2005
2030:
2028:
2021:, p. 69.
2020:
2015:
2008:
2003:
2001:
1999:
1991:
1986:
1979:
1974:
1972:
1970:
1968:
1960:
1955:
1953:
1945:
1940:
1938:
1936:
1934:
1926:
1921:
1919:
1911:
1906:
1899:
1897:
1891:
1889:
1881:
1876:
1874:
1872:
1870:
1862:
1857:
1855:
1853:
1851:
1843:
1838:
1836:
1834:
1826:
1821:
1819:
1811:
1806:
1804:
1796:
1791:
1784:
1779:
1777:
1775:
1773:
1771:
1769:
1767:
1759:
1754:
1752:
1750:
1748:
1746:
1744:
1742:
1740:
1738:
1730:
1728:
1722:
1715:
1710:
1708:
1706:
1698:
1696:
1690:
1688:
1686:
1684:
1682:
1680:
1672:
1667:
1665:
1657:
1652:
1650:
1648:
1641:, p. II.
1640:
1635:
1631:
1617:
1610:
1603:
1599:
1593:
1583:
1576:
1572:
1571:Thomas Tallis
1568:
1567:
1562:
1558:
1554:
1550:
1546:
1542:
1538:
1532:
1525:
1521:
1515:
1505:
1498:
1496:
1489:
1480:
1476:
1459:
1455:
1451:
1447:
1442:
1438:
1434:
1430:
1426:
1421:
1417:
1413:
1409:
1403:
1398:
1394:
1390:
1386:
1382:
1378:
1374:
1370:
1366:
1361:
1356:
1352:
1348:
1344:
1340:
1336:
1332:
1328:
1324:
1320:
1316:
1312:
1308:
1302:
1298:
1294:
1290:
1286:
1282:
1278:
1277:
1276:
1271:
1267:
1263:
1259:
1255:
1251:
1250:
1245:
1241:
1240:
1237:
1235:
1231:
1226:
1225:
1219:
1217:
1212:
1209:
1208:Margaret Bent
1204:
1199:
1193:
1191:
1187:
1186:
1179:
1177:
1165:
1163:
1159:
1154:
1150:
1145:
1141:
1137:
1135:
1134:
1129:
1125:
1120:
1115:
1110:
1105:
1101:
1097:
1093:
1089:
1079:
1077:
1072:
1071:Wolfgang Rehm
1068:
1063:
1061:
1057:
1053:
1049:
1045:
1041:
1037:
1033:
1029:
1025:
1021:
1017:
1012:
1010:
1006:
1002:
999:and material
998:
994:
990:
986:
982:
978:
977:
972:
965:
960:
951:
949:
945:
941:
937:
933:
929:
925:
921:
917:
913:
912:
906:
904:
900:
897:. His use of
896:
893:of the later
892:
888:
884:
880:
876:
873:
869:
868:
867:cantus firmus
863:
862:cyclic masses
859:
858:
853:
833:
832:
826:
822:
817:
815:
811:
807:
803:
802:
797:
793:
789:
785:
781:
780:
770:
769:
759:
756:
752:
748:
743:
735:
733:
732:En triumphant
729:
725:
719:
717:
716:
711:
707:
703:
699:
695:
691:
687:
677:
675:
671:
668:29 May 1438,
666:
662:
657:
655:
651:
646:
642:
638:
634:
630:
629:
628:LĂ©al Souvenir
624:
620:
615:
612:
608:
604:
600:
599:David Fallows
596:
592:
588:
584:
576:
572:
568:
567:
566:LĂ©al Souvenir
562:
553:
551:
548:
544:
540:
536:
532:
528:
524:
519:
517:
511:
506:
501:
496:
494:
490:
486:
482:
478:
474:
470:
459:
448:
444:
442:
437:
422:
420:
419:
413:
411:
407:
403:
399:
395:
391:
387:
383:
379:
375:
371:
366:
364:
360:
356:
352:
348:
344:
333:
329:
318:
313:
311:
306:
304:
299:
298:
296:
295:
289:
288:
282:
281:
276:
275:
274:
273:
265:
262:
260:
257:
255:
252:
250:
249:
245:
243:
240:
239:
232:
231:
223:
220:
218:
215:
213:
210:
208:
205:
203:
200:
198:
195:
193:
190:
188:
185:
183:
180:
178:
175:
173:
170:
168:
165:
163:
160:
159:
155:Major figures
152:
151:
143:
140:
138:
135:
133:
130:
128:
125:
123:
120:
118:
115:
113:
110:
108:
105:
104:
97:
96:
89:
85:
81:
80:
79:
78:
72:
71:
68:
65:
64:
60:
56:
55:
50:
46:
42:
32:
28:
23:
19:
4845:
4838:
4809:Architecture
4743:Jacob Bathen
4460:John Dowland
4330:William Byrd
4204:Leonel Power
4153:
4077:Jacobus Vaet
3857:
3732:Jacobus Vide
3666:
3657:Adrien Basin
3585:(ChoralWiki)
3537:
3508:
3503:
3470:
3457:
3450:Adler, Guido
3438:Haberl, F.X.
3419:
3400:
3371:
3365:
3339:
3305:
3274:
3270:
3258:
3233:
3229:
3210:
3209:
3190:
3162:
3156:
3131:
3125:
3103:(1): 29â62.
3100:
3096:
3071:
3025:
2998:
2952:
2917:
2898:
2878:
2851:
2822:
2798:
2775:
2748:
2725:
2722:Hugo, Victor
2684:
2658:
2626:
2602:
2589:
2574:Fallows 2001
2569:
2564:, p. 9.
2557:
2550:Fallows 2001
2526:
2519:Fallows 2001
2500:Fallows 2001
2478:
2471:Fallows 2001
2456:Fallows 2001
2451:
2444:Fallows 2001
2439:
2434:, § "Works".
2432:Fallows 2001
2412:
2405:Fallows 2001
2400:
2388:
2381:Fallows 2001
2345:Fallows 2001
2340:
2333:Fallows 2000
2328:
2321:Fallows 2000
2316:
2309:Fallows 2001
2296:, § para. 4.
2277:Fallows 2001
2272:
2260:
2248:
2236:
2231:, § para. 1.
2212:Fallows 2001
2197:Boucher 1963
2192:
2185:Fallows 2001
2170:Fallows 2001
2165:
2160:, § para. 4.
2155:
2150:
2103:Fallows 2001
2098:
2093:, § para. 3.
2065:
2053:
2041:
2019:Schuler 1976
2014:
2007:Fallows 2001
1985:
1978:Fallows 2001
1961:, §1 "Life".
1944:Fallows 2001
1905:
1900:, § para. 2.
1895:
1882:, § para. 2.
1861:Fallows 2001
1842:Fallows 2001
1827:, § para. 5.
1810:Fallows 2001
1795:Fallows 2001
1790:
1783:Fallows 2001
1731:, § para. 1.
1726:
1721:
1699:, § para. 3.
1694:
1673:, p. 1.
1656:Fallows 2001
1634:
1609:
1598:Use of Sarum
1592:
1582:
1564:
1561:William Byrd
1556:
1544:
1531:
1514:
1504:
1494:
1488:
1479:
1445:
1424:
1408:Schott Music
1392:
1368:
1364:
1342:
1314:
1293:John Stainer
1284:
1258:John Stainer
1248:
1236:respectively
1227:
1213:
1195:
1183:
1181:
1173:
1140:Counterpoint
1138:
1131:
1119:sacred music
1116:
1085:
1064:
1056:formes fixes
1055:
1040:rhyme scheme
1036:text setting
1013:
976:formes fixes
974:
968:
963:
947:
920:Lionel Power
909:
907:
903:part writing
887:leading-tone
874:
865:
855:
845:courtly love
829:
818:
799:
782:includes 28
778:
775:
767:
750:
731:
723:
720:
713:
683:
669:
658:
640:
626:
619:Jan van Eyck
616:
586:
580:
571:Jan van Eyck
564:
549:
526:
520:
505:Jules Houdoy
497:
440:
433:
416:
414:
367:
331:
327:
326:
285:
278:
246:
166:
86: /
48:
18:
4943:1460 deaths
4799:Renaissance
4794:Early music
4690:Netherlands
4670:Elizabethan
4525:Jacopo Peri
4495:Alonso Lobo
4455:John Cooper
4317:Late (1530)
4277:Jean Mouton
4189:Jean Japart
4179:Walter Frye
3960:Jean Mouton
3702:Gilles Joye
3682:Jean Cousin
3546:. pp.
3477:: 397â530.
3473:. Leipzig:
3462: [
3378:: 175â229.
3195:. Chicago:
3005:BĂ€renreiter
2483:Strohm 2005
2417:Slavin 1992
2393:Slavin 1992
2360:Slavin 1992
2265:Strohm 2005
2253:Strohm 2005
2241:Strohm 2005
2143:Strohm 2005
2124:Slavin 1992
1990:Strohm 1985
1910:Wright 1979
1714:Strohm 2005
1569:(1585) for
1547:(1377) for
1520:Brown (1976
1400: [
1345:. Nashdom:
1275:Archive.org
1190:Victor Hugo
1188:chp. 6, by
1153:fauxbourdon
1107: [
1100:cyclic mass
1096:magnificats
1048:poetic form
989:duple meter
985:triple time
852:troubadours
821:progressive
508: [
465: 1426
460:Paulouche (
454: 1425
363:Renaissance
339: 1400
235:Major forms
38: 1440
4937:Categories
4824:Philosophy
4819:Literature
4787:Background
4653:Traditions
4629:Magnificat
4619:Intermedio
4563:Burgundian
3762:Influences
3525:1039989296
3076:. Oxford:
3030:. Oxford:
3000:MGG Online
2957:. Oxford:
2920:. Oxford:
2778:. Lanham:
2752:. Ithaca:
2688:. Oxford:
2640:2144/29055
2294:Pryer 2011
2229:Pryer 2011
2156:Britannica
2091:Pryer 2011
2058:Leach 2014
2046:Reese 1940
1896:Britannica
1880:Pryer 2011
1825:Pryer 2011
1758:Korth 2016
1727:Britannica
1695:Britannica
1639:Rossi 2008
1575:Rice (1999
1541:F. Andrieu
1466:References
1448:. Oxford:
1427:(Thesis).
1406:2. Mainz:
1381:1312495580
1270:1120811734
1060:Humanistic
1009:folk music
1001:repetition
899:dissonance
777:Binchois'
479:and later
430:Early life
222:Monteverdi
202:Palestrina
107:Burgundian
4915:Biography
4639:Offertory
4568:Colorists
4430:Mannerism
3741:Uncertain
3650:Composers
3483:0863-6206
3059:required)
3018:(2004) .
2986:required)
2910:(2005) .
2724:(1888) .
2648:603465003
2603:Dunstaple
2562:Bent 1981
2531:Hugo 1888
2070:Rice 1999
1626:Citations
1355:663506936
1234:Kaye 1991
1230:Rehm 1957
1149:Homophony
1128:prolation
940:antiphons
914:style of
857:trouvĂšres
812:graceful
661:subdeacon
402:subdeacon
182:Tinctoris
84:Composers
4860:Category
4837: â
4700:Portugal
4624:Madrigal
4598:Venetian
3452:(eds.).
3440:(1885).
3411:(1866).
3338:(1954).
3328:18814790
3297:53125722
2945:(2001).
2877:(1979).
2849:(2005).
2819:(1985).
2774:(1940).
2746:(2014).
2601:(1981).
1537:medieval
1458:23975354
1437:30962057
1416:20617065
1331:20376641
1301:21452928
1222:Editions
1092:canticle
1067:symmetry
981:ballades
944:Standley
928:textures
883:dominant
879:cadences
796:chansons
686:Soignies
665:prebends
583:Burgundy
500:organist
447:Soignies
410:Soignies
406:prebends
394:Burgundy
378:organist
351:chansons
332:Binchoys
254:Madrigal
217:Victoria
172:Ockeghem
167:Binchois
132:Venetian
117:Colorist
74:Overview
59:a series
57:Part of
43:copy of
4889:Portals
4850:â
4680:Germany
4660:British
3783:Related
3595:(IMSLP)
3591:at the
3581:in the
3572:at the
3548:326â327
3536:(ed.).
3491:1773229
2736:6737657
2584:Sources
1375:Press.
1176:Orpheus
1028:May Day
997:phrases
971:rondeau
954:Secular
936:channel
839:
810:suavely
690:provost
390:Hainaut
248:Chanson
197:Zarlino
187:Josquin
177:Busnois
4870:Portal
4695:Poland
4675:France
4665:Cyprus
4644:Pavane
4438:c.1600
3556:407077
3554:
3523:
3511:]
3489:
3481:
3392:830766
3390:
3350:
3326:
3316:
3295:
3285:
3250:926163
3248:
3179:763654
3177:
3148:930600
3146:
3117:947006
3115:
3084:
3046:
2973:
2928:
2885:
2863:
2835:
2805:
2786:
2760:
2734:
2696:
2671:
2646:
2613:
1573:. See
1509:age.".
1456:
1435:
1414:
1379:
1353:
1329:
1299:
1268:
1168:Legacy
1082:Sacred
814:melody
808:, the
806:rhythm
792:motets
788:psalms
645:vielle
547:rondel
493:Binche
473:Binche
436:byname
396:under
374:Binche
330:(also
242:Anthem
192:Tallis
162:Du Fay
4927:Music
4814:Dance
4705:Spain
4685:Italy
4614:Carol
4593:Roman
3513:(PDF)
3507:[
3466:]
3430:IMSLP
3416:(PDF)
3388:JSTOR
3374:(2).
3273:[
3246:JSTOR
3175:JSTOR
3144:JSTOR
3113:JSTOR
2590:Books
1471:Notes
1404:]
1367:[
1111:]
1088:psalm
1046:over
779:Ćuvre
738:Music
728:quote
523:Lille
512:]
382:Lille
264:Motet
207:Lasso
127:Roman
33:in a
4634:Mass
4432:and
3552:OCLC
3521:OCLC
3487:OCLC
3479:ISSN
3348:ISBN
3324:OCLC
3314:ISBN
3293:OCLC
3283:ISBN
3234:T. 5
3211:See
3082:ISBN
3044:ISBN
2971:ISBN
2926:ISBN
2883:ISBN
2861:ISBN
2833:ISBN
2803:ISBN
2784:ISBN
2758:ISBN
2732:OCLC
2694:ISBN
2669:ISBN
2644:OCLC
2611:ISBN
2158:2021
1898:2021
1729:2021
1697:2021
1497:name
1454:OCLC
1433:OCLC
1412:OCLC
1377:OCLC
1351:OCLC
1327:OCLC
1297:OCLC
1266:OCLC
1232:and
1216:Mass
1160:and
1090:and
1030:and
1022:and
918:and
864:and
854:and
836:lit.
784:mass
704:and
696:and
674:sous
652:and
469:Mons
443:name
425:Life
370:Mons
259:Mass
212:Byrd
4804:Art
3380:doi
3238:doi
3167:doi
3136:doi
3105:doi
3036:doi
2963:doi
2636:hdl
1563:'s
1555:'s
1543:'s
1495:dit
1373:AMS
950:".
569:by
458:née
441:dit
47:'s
4939::
3550:.
3485:.
3469:.
3464:de
3456:.
3448:;
3444:;
3418:.
3386:.
3372:28
3370:.
3346:.
3322:.
3312:.
3291:.
3244:.
3232:.
3189:.
3173:.
3163:10
3161:.
3142:.
3132:33
3111:.
3101:85
3099:.
3080:.
3042:.
3034:.
3024:.
2997:.
2969:.
2961:.
2951:.
2924:.
2916:.
2859:.
2831:.
2782:.
2756:.
2692:.
2667:.
2642:.
2634:.
2609:.
2538:^
2507:^
2490:^
2463:^
2424:^
2367:^
2352:^
2301:^
2284:^
2219:^
2204:^
2177:^
2131:^
2110:^
2077:^
2026:^
1997:^
1966:^
1951:^
1932:^
1917:^
1887:^
1868:^
1849:^
1832:^
1817:^
1802:^
1765:^
1736:^
1704:^
1678:^
1663:^
1646:^
1551:,
1452:.
1431:.
1410:.
1402:de
1395:.
1349:.
1325:.
1317:.
1264:.
1164:.
1109:de
1018:,
656:.
510:fr
463:d.
452:d.
365:.
336:c.
334:;
61:on
35:c.
4891::
4116:e
4109:t
4102:v
3829:e
3822:t
3815:v
3635:e
3628:t
3621:v
3558:.
3527:.
3493:.
3471:1
3432:.
3394:.
3382::
3356:.
3330:.
3299:.
3252:.
3240::
3181:.
3169::
3150:.
3138::
3119:.
3107::
3090:.
3052:.
3038::
3007:.
2979:.
2965::
2934:.
2891:.
2869:.
2841:.
2811:.
2792:.
2766:.
2738:.
2702:.
2677:.
2650:.
2638::
2619:.
2036:.
1760:.
1460:.
1439:.
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