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A statistical analysis of the chansons of Arnold and Hugo de Lantins was able to resolve conflicting manuscript attributions and refine their composition dates by quantitatively evaluating the differences between each song using multidimensional scaling. The variables chosen for analysis acknowledged that the dyadic counterpoint of the superius–tenor duet (the Gerüstsatz) forms the contrapuntal and harmonic core of an early 15th-century chanson, but also honoured the essential contribution of the contratenor to the overall musical texture. The analysis, which clearly discriminated between Arnold and Hugo’s songs, indicated that (1) the manuscript composition dates of 1428 for Arnold’s Quant je mire and Se ne prenés are erroneous and they were composed before 1425; (2) Hugo’s Tra quante regione was composed for the birth of Cleofe Malatesta’s first child in 1428, not for her wedding celebrations in 1420–21; and (3) Arnold’s Las pouray je and Hugo’s Plaindre m’estuet are possibly the result of a ‘friendly rivalry’ and composed c.1428. These findings indicate that the statistical techniques and analytical procedure used in this study offer a valuable tool to medieval musicologists that could be applied to other repertories with a similar twopart contrapuntal core.

Although, according to the author, much sound research, has been done in the Dufay era in recent years,\" Charles Hamm's book marks the first time an attempt has been made at a comprehensive chronology of the works of this composer. Professor Hamm approaches all Dufay's compositions from the point of view of mensural practice, and has been able to date each piece more precisely than would have been possible in a chronology based on manuscript studies or stylistic analyses. He has divided the works into nine groups, according to details of mensural usage, and on the basis of datable works and other evidence has suggested dates within which the pieces of each group were written. Based on his study of Dufay's mensural practice, the author suggests that the Missa Sancti Antoni and several other works attributed to Dufay may not have been written by him.Originally published in 1964.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The similarities and differences in two cantilena motets attributed to 15th-century composer Hugo de Lantins, \"Christus vincit\" and \"O lux et decus Hispanie,\" are examined.