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