This discovery carries a number of far-reaching implications, three of which I shall discuss here. The Tenor part in the unique source, though necessary to the counterpoint, was added later to the manuscript by a different composer and a different scribe. I have discovered that its final section, Agnus Dei III, is for five voices, embodying a simultaneous retrograde canon on the “L’homme armé” melody. But one of its most important features has gone undetected until now. The four-voice L’homme armé mass ascribed to ‘Philippon’ (Philippe Basiron, c.1450–1491), called ‘new’ in 1484, has been fairly well known to scholars since its publication in score in 1948.
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