Music from the Earliest Notations to the Sixteenth Century

most impressively of all, in the true emulatory spirit, by Philippe Basiron, a pupil of Faugues, in his
Agnus Dei (Ex. 12-15b).

EX. 12-15A  Antoine Busnoys,    Missa   L’Homme Armé,   Sanctus,    mm. 26–29

EX. 12-15B  Philippe    Basiron,    Missa   L’Homme Armé,   Agnus   I,  mm. 8–23

Among the reasons why Busnoys’s Missa L’Homme Armé became the archetype of its genre was one
that lay beneath the surface, in the realm of ideal, esoteric, even occult structure. Like the ordering
principles governing the isorhythmic motets surveyed in chapter 8, it is unavailable to detection by the