Uploaded September 2026 | Updated September 2026, 2 weeks ago
New videos and pieces everyday.
Like and subscribe to our channel: youtube.com/channel/UCnecaf9_nSWT__lhfu4EYpg
Guillaume Dufay (1397 – 1474) was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and reproduced. Dufay was well-associated with composers of the Burgundian School, particularly his colleague Gilles Binchois, but was never a regular member of the Burgundian chapel himself.
Dufay has been described as leading the first generation of European musicians who were primarily considered 'composers' by occupation. His erratic career took him throughout Western Europe, forming a 'cosmopolitan style' and an extensive oeuvre which included representatives of virtually every polyphonic genre of his time. Like Binchois, Dufay was deeply influenced by the contenance angloise style of John Dunstaple, and synthesized it with a wide variety of other styles, including that of the famous Missa Caput, and the techniques of his younger contemporaries, Ockeghem and Busnois.
Dufay composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any of his works. Seven complete Masses, 28 individual Mass movements, 15 settings of chant used in Mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble-dominated part-writing with phrases ending in the "under-third" cadence in Dufay's youth) and 87 chansons definitely by him have survived.
Performers: Blondel
New videos and pieces everyday.
Like and subscribe to our channel: youtube.com/channel/UCnecaf9_nSWT__lhfu4EYpg
Guillaume Dufay (1397 – 1474) was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and reproduced. Dufay was well-associated with composers of the Burgundian School, particularly his colleague Gilles Binchois, but was never a regular member of the Burgundian chapel himself.
Dufay has been described as leading the first generation of European musicians who were primarily considered 'composers' by occupation. His erratic career took him throughout Western Europe, forming a 'cosmopolitan style' and an extensive oeuvre which included representatives of virtually every polyphonic genre of his time. Like Binchois, Dufay was deeply influenced by the contenance angloise style of John Dunstaple, and synthesized it with a wide variety of other styles, including that of the famous Missa Caput, and the techniques of his younger contemporaries, Ockeghem and Busnois.
Dufay composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any of his works. Seven complete Masses, 28 individual Mass movements, 15 settings of chant used in Mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble-dominated part-writing with phrases ending in the "under-third" cadence in Dufay's youth) and 87 chansons definitely by him have survived.
Performers: Blondel
