Bibliographie

1. [Ammendola 2013] = Ammendola, Andrea: Polyphone Herrschermessen (1500–1650): Kontext und Symbolizität. – Göttingen: V & R unipress, 2013. [(teilweise) online]
2. [Barbier 2010] = Barbier, Jacques: Josquin Desprez - Paris: Bleu Nuit Éd., 2010. - 287 S. - bsb Mus.th. 2010.2644
3. [Burgund 1966] = Dericum, Christa (Hg.): Burgund und seine Herzöge in Augenzeugenberichten. – Düsseldorf: Karl Rauch Verlag, 1966.
4. [Burn 2001/08??]* = Burn, David: Further observations on stacked canon and renaissance compositional procedure: gascongne's ista est speciosa and forestier's missa l'homme arme. - In: Journal of Music Theory, 2001, 2008, Vol.45(1), p.73 ?? 
5. [Bossuyt 1997] = Bossuyt, Ignace: Die Kunst der Polyphonie. Die flämische Musik von Guillaume Dufay bis Orlando di Lasso. - Zürich und Mainz: Atlantis Musikbuch, 1997. 
6. [Bowers 2003]* = Bowers, Roger: Five into Four Does Go: The Vocal Scoring of Ockeghem's "Missa L'homme Armé". - In: Early Music 31(2):262-265; Oxford University Press, 2003. 
7. [Brown ..] = Brown, Howard Mayer: Music and  Ritual at Charles the Bold's Court: The Function of Liturgical Music by Busnoys and His Contemporaries. in: [Higgins 1999], S. 53-70.
8. Joseph: Die Grossen Herzöge von Burgund. - München: Callwey, 1963.
9. [Christle Collins 2017]* = ChristleCollins, Judd: Musical Theory in the Renaissance Music. - Routledge, 2017. 
10. [Cohen 1968] = Cohen, Judith: The Six Anonymous L'Homme Armé Masses in Naples. Biblioteca Nazionale, MS VI E 40, American Institute of Musicology 1968 (=Musicological Studies and Documents. 21). 
11. [Dean 2013]* = Dean, Jeffrey J.: Towards a Restoration of Tinctoris’s L’homme armé Mass: Coherence, Mensuration, Varietas. - In: Journal of the Alamire Foundation, 01 March 2013, Vol.5(1), S.11-40. - bsb
12. [DeFord 2015]* = DeFord, Ruth: Tactus, Mensuration and Rhythm in Renaissance Music. - Cambridge Univ. Press, 2015.
13. [Dericum 1966] = Dericum, Christa (Hg.): Burgund und seine Herzöge in Augenzeugenberichten. - Düsseldorf: Karl Rauch, 1966 - stabi 381940
14. [Firme 2006] = Firme, Annemarie; Hocker, Ramona (Hrsg.): Von Schlachthymnen und Protestsongs. Zur Kulturgeschichte des Verhältnisses von Musik und Krieg. Bielefeld: 2006
15. [Gallagher 2000] = Gallagher, Sean: "Caron, Firminus" - In: Die MGG, 2. neubearb. Auflage, Personenteil Bd. 4. - Kassel [u.a.]: ... 2000, Sp. 243-247.

16. [Gallagher 2010] = Gallagher, Sean: Johannes Regis. - Tournhout: Brepols [u.a.], 2010.

17. [Gottwald 1994] = Gottwald, Clytus: Palestrina: „L’homme armé“. - In: Heinz-Klaus Metzger/Rainer Riehn: Palestrina. Zwischen Démontage und Rettung. Musik-Konzepte Bd. 86. - München: edition text+kritik, 1994. ISBN 3-88377-482-0, S. 43–59.

18. [Gülke 2003] = Gülke, Peter: Guillaume Du Fay. Musik des 15. Jahrhunderts. - Stuttgart [u.a.]: Metzler, 2003.
19. [Haaß 1984] = Haaß, Walter: Studien zu den "L'homme armé"-Messen des 15. und 16. Jahrhunderts. - Regensburg: Bosse, 1984 (Kölner Beiträge zur Musikforschung 136).
20. [Haggh 2000] = Haggh, Barbara: Binchois and Sacred Music at the Burgundian Court. - In: Andrew Kirkman/Dennis Slavin (Hg.): Binchois Studies, Oxford Univ. Press, 2000, 1-25.
21. [Hannas 1952] = Hannas, Ruth: Concerning Deletions in the Polyphonic Mass Credo. - In: Journal of the American Musicological Society V (1952), S. 155-186.
22. [Higgins 1999] = Higgins, Paula (Hg.): Antoine Busnoys. Method, Meaning, and Context in Late Medieval Music. - Oxford: Clarendon Press, 1999. (3xVaqueras) [online]
23. [Kirkman 2010]* = Kirkman, Andrew: The cultural life of the early polyphonic mass: medieval context to modern revival. - Cambridge [u.a.] : Cambridge Univ. Press, 2010.
24. [Laubenthal 1995] = Studien zur Musikgeschichte: Eine Festschrift für Ludwig Finscher. Hg. v. Annegrit Laubenthal (u.Mitarb.v. Kara Kusan-Windweh), Kassel: Bärenreiter, 1995.
25. [Laubenthal 1996] = Laubenthal, Annegrit: "L'homme armé". - In: Die Musik in Geschichte und Gegenwart, 2. neubearb. Ausgabe, hg. v. Ludwig Finscher, Sachteil Bd. 5, (nicht Stuttgart an 1.??)Kassel [u.a.]: Bärenreiter, 1996. Sp. 1110-1116.
26. [Lemaire/Wangermée 2002] = Lemaire, Claudine/Wangermée, Robert: Le rondeau Il sera pour vous combattu/L'homme armé, poe'me de l'equivoque? - In: Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap 56 (2002), S. 145-158. 
27. [Lockwood 1973] = Lookwood, Lewis: Aspects of the 'L'h??omme armé Tradition. - In: Proceedings of the Royal Musical Association 100 (1973), S. 97-122.
28. [Long 1999] = Long, Michael: Arma virumque cano: Echoes of a Golden Age. - In: [Higgins 1999], S. 133-154.
29. [Lütteken 1998] = Lütteken, Laurenz: Ritual und Krise. Die neapolitanischen "L'homme armé"-Zyklen und die Semantik der Cantus firmus-Messe. - In: Hermann Danuser/Tobias Plebuch (Hg.): Musik als Text. (Bericht über den internationalen Kongreß der Gesellschaft für Musikforschung Freiburg im Breisgau 1993). - Kassel [u.a.]: Bärenreiter, 1998, 2 Bde., S. 207-218 (Bd. 1/2??).
30. [Marix 1939] = Marix, Jeanne: Histoire de la musique et des musiciens de la cour de Bourgogne sous le règne de Philippe le Bon (1420-1467). (=Collection d'e'tudes musicologiques 29). Strasbourg, 1939, Reprint: Baden-Baden: Koerner, 1974.
31. [Meconi 2003]* = Meconi, Honey: Pierre de la Rue and musical life at the Habsburg-Burgundian court. - Oxford [u.a.] : Oxford Univ. Press, 2003. siehe google books: https://books.google.de/books?id=kfEVGb_D-ukC&printsec=frontcover&hl=de&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
32. [Meconi 2004]* = Meconi, Honey (Hg.): Early Musical Borrowing. - New York [u.a] : Routledge, 2004.       https://books.google.de/books?id=4JKNAgAAQBAJ&pg=PA167&lpg=PA167&dq=Quellen+costanzo+fest+missa+l%27homme+arme&source=bl&ots=iaouNz2rTB&sig=ACfU3U1hIJQexDYwxsfWXU_J3Vagp-C_4Q&hl=de&sa=X&ved=2ahUKEwisroi9xIPoAhXUuXEKHdkSBsAQ6AEwBnoECAoQAQ#v=onepage&q=Quellen%20costanzo%20fest%20missa%20l'homme%20arme&f=false
33. [Melin 1973] = Melin, William E.: The music of Johannes Tinctoris (ca. 1435-1511): a comparative study of theory and practice. - Ann Arbor, Michigan, Diss UMI, 1973 (Edition von Musikwerken??) - bsb
34. [Mirka 2014] = Mirka, Danuta (Hrsg.): The Oxford Handbook of Topic Theory. Oxford: 2014.
35. [Moll 2017]* = Moll, Kevin N.: Streaming Music into Renaissance Studies: The case of L'homme armé.- In: Explorations in Renaissance Culture, December 2017, Vol.43(2), S.109-139. - Leiden: Brill, 2017. - bsb
36. [Monelle 2006] = Monelle, Raymond: The musical topic. Hunt, military and pastoral. Bloomington: 2006.
37. [Müller 2017] = Müller, Matthias; Hahn, Peter-Michael (u.a.):  Zeichen und Medien des Militärischen am Fürstenhof in Europa. - Berlin 2017.
38. [Paravicini 2005] = Paravicini, Werner: Die Hofordnungen der Herzöge von Burgund. etc..online: https://perspectivia.net/rsc/viewer/ploneimport_derivate_00010705/kruse-paravicini_hofordnungen.pdf?page=453&q=musik
39. [Perkins/Garey 1979] = Perkins, Leeman L./Garey, Howard (Hg.): The Mellon Chansonnier. 2 Bd.e. - New Haven [u.a.]: Yale University Press, 1979.
40. [Perkins 1984] = Perkins, Leeman L.: The L'Homme Armé Masses of Busnoys and Okeghem: A comparison. - In: The Journal of Musicology 3 (1984), S. 363-396.
41. [Perkins 1997] = Perkins, Leeman L.: "Mellon-Chansonnier". - In: Die Musik in Geschichte und Gegenwart, 2. neubearb. Ausgabe, hg. v. Ludwig Finscher, Sachteil Bd. 6, Stuttgart [u.a.]: Bärenreiter, 1997. Sp. 32-35.
42. [Prizer 1985] = Prizer, William F.: Music and ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece. - In: Iain Fenlon (Hg.): Studies in Medieval and Early Modern Music. Cambridge, 1985 (=Early Music History 5), S. 113-153.
43. [Rees 1993]* = Rees, Owen: Guerrero's L'homme armé masses and their models. - In: Early Music History, 1993, Vol.12, S.19-54.
44. [Richter 1882] = Richter, Oskar: Die französische Litteratur am Hofe der Herzöge von Burgund. (Diss. Vereinigte Friedrich-Universität Halle-Wittenberg). - Halle: Ernst Schneider, 1882.
45. [Rodin 2006]* = Rodin, Jesse: A Josquin substitution.(Josquin des Prez's Missa L'homme arme super voces musicales). - In: Early Music, May, 2006, Vol.34(2), p.249(9) (Review??).
46. [Rodin 2012]* = Rodin, Jesse: Josquin's Rome: Hearing and Composing in the Sistine Chapel. - New York [u.a.]: Oxford University Press, c. 2012. /mit CDs!! online auch üb. stabikat bzw. https://books.google.de/books?id=OOJoAgAAQBAJ&pg=PA258&lpg=PA258&dq=Missa+L%27homme+arme+Basiron+cd&source=bl&ots=flKW0Ci87Q&sig=ACfU3U3B0RmA0hrpyBFujal-1cdHiJD5Aw&hl=de&sa=X&ved=2ahUKEwjs9t-8q4PoAhWR_qQKHfL6AHsQ6AEwB3oECAoQAQ#v=onepage&q=Missa%20L'homme%20arme%20Basiron%20cd&f=false  /Amazon 60-70 Euro
47. [Rosenberg 1966] = Rosenberg, ??: Symbolic and Descriptive Text Settings in the Sacred Works of Pierre de la Rue (c. 1460–1518). In: Miscellanea musicologica (Adelaide) Nr. 1, 1966, Seite 225–248
48. [Roth 1991] = Roth, Adalbert: L'homme armé, le doubteé turcq, l'ordre de la toison d'or. Zur 'Begleitmusik' der letzten großen Kreuzzugsbewegung nach dem Fall von Konstantinopel. - In: D. Altenburg/J. Jarunt/H.-H. Steinhoff (Hg.): Feste und Feiern im Mittelalter. Paderborner Symposion des Mediävistenverbandes. - Sigmaringen: Thorbecke, 1991. S. 469-479. - BEST. nach 25.3.
49. [Rubsamen 1937] = Rubsamen, Walter Howard : Pierre de la Rue als Messenkomponist. Diss. München 1937 (>Haaß, S. 152)
50. [Sargent 2011] = Sargent, Joseph: Morales, Josquin and the L'homme armé tradition. – In: Early Music History 30 (2011) 177–212 [online]
51. [Sherr 1995] = Sherr, Richard: Notes on the Biography and Music of Bertrandus Vaqueras. - In: Studien zur Musikgeschichte: Eine Festschrift für Ludwig Finscher. Hg. v. Annegrit Laubenthal (u.a.), Kassel: Bärenreiter, 1995, S. 111-123.
52. [Sherr 2000] = Sherr, Richard: "Busnoys, Antoine". - In: Die Musik in Geschichte und Gegenwart, 2. neubearb. Ausgabe, hg. v. Ludwig Finscher, Personenteil Bd. 3. - Stuttgart [u.a.]: Metzler??, 2000, Sp. 1363-1371. 
53. [Sherr 2009] = Sherr, Richard: üb. Regis??
54. [Sherr 2019] = Sherr, Richard: Music and Musiciens in Renaissance Rome and Other Courts. - Aldershot [u.a.] : Ashgate/Variorum, c 1999. /stabikat  / https://books.google.de/books?id=bqubDwAAQBAJ&pg=PT365&lpg=PT365&dq=Missa+l%27homme+arme+Vaqueras&source=bl&ots=Fcy-WKBfCA&sig=ACfU3U2wpWFv7UWwPIfBCR9ycrc4ECj1OA&hl=de&sa=X&ved=2ahUKEwibxYiOvIPoAhWK6aQKHfcHDvoQ6AEwAnoECAgQAQ#v=onepage&q=Missa%20l'homme%20arme%20Vaqueras&f=false
55. [Strohm 1985] = Strohm, Reinhard: Music in Late Medieval Bruges. - Oxford: Clarendon Press, 1985. (S. 130?)
56. [Strohm 1990] = Strohm, Reinhard: Einheit und Funktion früher Meßzyklen. - In: Sören Meyer-Eller; Norbert Dubowy: Festschrift Rudolf Bockholdt zum 60. Geburtstag. - Pfaffenhofen: Ludwig, 1990, S. 141-160.
57. [Strohm 1993] = Strohm, Reinhard: The Rise of European Music 1380-1500. - Cambridge [u.a.]: Cambridge Univ. Press, 1993
58. [Strohm 2007] = Strohm, Reinhard: Guillaume du Fay, Martin le Franc und die humanistische Legende der Musik. - Winterthur: Amadeus Verlag, 2007. (Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich 192). 
59. [Tafelwäsche 2018] = Döberl, Mario; Jolly, Anna; Sailer, Daniela, Wos Jucker, Agnieszka (Hg.): Die Tafelwäsche des Ordens vom Goldenen Vlies. – Riggisberg: Abegg-Stiftung, 2018.
60. [Vaghan 1973] = Vaughan, Richard: Charles the bold. The last Valois duke of Burgundy. - London, 1973 (Neuauflage und Nachtragsbibliographie von Werner Paravicini Woodbridge, 2002 -S. 164, 191ff.zum Hof
61. [Warmington 1999] = Warmington, Flynn: The Ceremony of the Armed Man: The Sword, the Altar, and the L'homme armé Mass. - In: [Higgins 1999]. S. 89-130.
62. [Wegman 1989] = Wegman, Rob C.: Another 'Imitation' of Busnoys's Missa L'Homme armé-and Some Observations on Imitatio in Renaissance Music. - In: Journal of the Royal Musical Association, 01 January 1989, Vol.114(2), S.189-202.
63. [Wenzel 2018] = Wenzel, Silke: Lieder, Lärmen, "L'homme armé". Musik und Krieg 1460-1600. (Musik der frühen Neuzeit, Bd. 4). - Neumünster/Holstein: von Bockel, 2018. - voebb Mu 45543
64. [Wickham 2002] = Wickham, Edward: Finding Closure: Performance Issues in the Agnus Dei of Ockeghem's "Missa L'homme armé". - In: Early Music. 30 (4), S. 593-607; Oxford University Press, 2002. 
65. [Winkler 2005] = Winkler, Heinz-Jürgen: "Regis, Leroy, Johannes, Jehan". - In: Die Musik in Geschichte und Gegenwart, 2. neubearb. Ausgabe, hg. v. Ludwig Finscher, Personenteil Bd. 13. - Stuttgart [u.a.]: Metzler??, 2005, Sp. 1436-1438. 
66. [Woodley 1988] = Woodley, Ronald: Tinctoris's Italian Translation of the golden Fleece Statutes: A Text and a (Possible) Context. - In: Early Music History 8 (1988), S. 173-244. 
67. [Wright 1979] = Wright, Craig: Music at the Court of Burgundy, 1364-1419. A documentary history. - Henryville/Ottawa/Binningen, 1979.

üb. Forestiers Messe: Further Observations… and F. Missa… in Journal of Music Theory. 45 (1): 73-118, Yale Uni 2001

üb. Brumel: https://www.allmusic.com/composition/missa-lhomme-armé-for-4-voices-mc0002561746

*Abstracts: 

[Bowers 2003] 

Offers solutions to the problems of ensemble, voice distribution and tempo in the performance of Ockeghem's Mass identified by E. Wickham in "Finding closure: performance issues in the Agnus Dei of Ockeghem's "Missa L'homme arme"", Early Music (31) 2 2003 pp.593-607. Some of the difficulties are primarily dilemmas of the modern ensemble director and would not have seemed problematic to Ockeghem's 15C contemporaries. (Quotes from original text)

[Burn 2001/08??]

Burn explores Matthieu Gascongne's "Ista est speciosa" and Mathurin Forestier's "Missa L'homme armé" as further examples of the technical challenge of "stacked canon" examined by Alan Gosman in a prior article in "Journal of Music Theory." The two pieces fill the large chronological gap between Gosman's first and second examples, and also provide substantial further dimension to an understanding of the exploitation and execution of stacked canon as a formal device. Stacked canons occur as a demonstration of a particular effort, to a variety of ends. Composers took on the task as a personal challenge, to demonstrate skill, to combat the hegemony of existing masters, and as an expression of religious devotion or conviction. Effort is also required on the part of the performer/receiver, who must solve the verbal instruction to make the piece usable, but may also have his understanding of the extant musical system tested.

[ChristleCollins 2017] 

This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor?s introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.

[Dean 2013]

The L’homme armé mass by Johannes Tinctoris has been repeatedly criticized for lacking coherence, but it has scarcely been noticed that in its unique source the Tenor part in the two largest subsections of the mass, ‘Et in terra’ and ‘Patrem’, was added by a different scribe than the copyist of the other parts and the rest of the mass. If these two subsections are left aside, the remainder of the mass demonstrates several independent patterns of usage of the ‘L’homme arme’ tenor, so it is proposed that the composer’s intention was for these patterns to obtain in ‘Et in terra’ and ‘Patrem’ as well, and that the added Tenor parts are not by Tinctoris. The notation of mensural proportions in the source is shown to be entirely consistent with Tinctoris’s distinctive theory of proportions, except in one instance in which a copying error can be explained. Various scholars have noticed allusions to L’homme armé masses by other composers in Tinctoris’s mass, but only one study so far has attempted to bring these together; further references are observed, and Tinctoris’ references to the predecessors of his mass are accounted for as one dimension of varietas, a compositional principle Tinctoris had emphasized in his treatise on counterpoint.

[DeFord 2015] 

Ruth I. DeFord's book explores how tactus, mensuration, and rhythm were employed to articulate form and shape in the period from c.1420 to c.1600. Divided into two parts, the book examines the theory and practice of rhythm in relation to each other to offer new interpretations of the writings of Renaissance music theorists. In the first part, DeFord presents the theoretical evidence, introduces the manuscript sources and explains the contradictions and ambiguities in tactus theory. The second part uses theory to analyse some of the best known repertories of Renaissance music, including works by Du Fay, Ockeghem, Busnoys, Josquin, Isaac, Palestrina, and Rore, and to shed light on composers' formal and expressive uses of rhythm. DeFord's conclusions have important implications for our understanding of rhythm and for the analysis, editing, and performance of music during the Renaissance period.

[Kirkman 2010]

[Meconi 2003]

aus google: 131: zur Zeit von P. de la Rue am Hof gab es nur 2 Treffen des Ordens zum Goldenen Vlies; eines ohne Zeremonie, beim 2. evtl. eine seiner Messen aufgeführt; typisch für diese Zusammenkünfte waren: 1 Requiem und eine Marienmesse (nicht mehr??), 2 Fußnoten wichtig; doch S. 132 nicht bei google abgedruckt;

[Meconi 2004]

[Moll 2017]

College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L'homme armé - a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L'homme armé, and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden.

 [Rees 1993]

Of the three most important Spanish composers of the Renaissance – Morales, Guerrero and Victoria – it is undoubtedly Guerrero who has attracted the least musicological attention. The complete edition of his works begun in 1949 is still little more than half complete, and the only substantial published account of his life and output is over thirty years old. As this article will show, at least one major work by Guerrero has managed hitherto to slip almost entirely through the musicological net, thanks to the general concentration on printed sources of his music at the expense of manuscripts.

[Rodin 2006] 

A German parchment manuscript datable to C.1505-20 in FrankSU2, Josquin's famous Missa L'homme arme super voces musicales is preserved with a significant modification that has gone unnoticed in the musicological literature until now. Since the Benedictus is the only two-voice section in Josquin's mass, the musicians involved in the creation of FrankSU2 wanted to fill out Josquin's unusually thin texture.

[Rodin 2012]

Famous for its culture of compositional one-upmanship, the L’homme armé tradition reached an apex toward the end of the 15th century. Chapter 6 turns a microscope on Josquin’s Missa L’homme armé super voces musicales , possibly the most famous L’homme armé mass ever composed, in order to uncover points of connection with other settings. It argues that the extraordinary technical complexity that underpins Josquin’s mass has its roots in the music of Du Fay, Busnoys, de Orto, and, above all, Ockeghem, to whom Josquin’s setting can be read as both an homage and a competitive response.

List of Figures p. xi List of Tables p. xiii List of Musical Examples p. xv About the Companion Recordings p. xix Pitch Nomenclature p. xxi A Note on Musical Examples p. xxiii Abbreviations p. xxv Introduction p. 3 Toward Josquin's Style Methodological Minefields p. 23 An Obsessive Compositional Personality p. 41 Surveying the Soundscape: The Cappella Sistina, ca, 1480-ca. 1500 The Repertory p. 97 The Lingua Franca p. 132 A Maximalist Musical Mind: Marbrianus de Orto p. 189 Josquin's Roman Music in Context Super voces musicales and the L'homme armé Tradition p. 233 Intersections and Borrowings p. 269 Repertory of the Cappella Sistina to ca. 1500 p. 311 Related Repertories: VerBC 761, BarcOC 5, and VatSP B80 p. 324 Three Anonymous Da pacem Motets p. 328 Four Canonic Hymn Settings p. 336 Bibliography p. 355 Index p. 379 Table of Contents provided by Blackwell's Book Services and R.R. Bowker. Used with permission.

[Wickham 2002]

Jean d'Ockeghem's "Missa L'homme arme" is a Mass for four voices. At no point are there more than four polyphonic lines in play. This piece poses performance challenges, which are addressed.