Ave regina coelorum dufay pdf11/9/2022 ![]() ![]() ![]() I propose that Busnoys’s “L’homme armé” was not uniquely authoritative in the fifteenth century, but shared authority with several other L’homme armé masses. ![]() (2) Basiron’s mass was extremely closely modeled on Du Faÿ’s “L’homme armé” mass. I propose that this may have informed composers’ decisions about the design of mass tenors. (1) The loss of a portion of the Tenor alone, not only in Philippon’s “L’homme armé” mass but also in Tinctoris’, unique to the same manuscript, implies that the transmission of polyphonic music in separate parts may have been much more common in the fifteenth century than hitherto imagined. This discovery carries a number of far-reaching implications, three of which I shall discuss here. The Tenor part in the unique source, though necessary to the counterpoint, was added later to the manuscript by a different composer and a different scribe. I have discovered that its final section, Agnus Dei III, is for five voices, embodying a simultaneous retrograde canon on the “L’homme armé” melody. But one of its most important features has gone undetected until now. The four-voice L’homme armé mass ascribed to ‘Philippon’ (Philippe Basiron, c.1450–1491), called ‘new’ in 1484, has been fairly well known to scholars since its publication in score in 1948. ![]()
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