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  • HAGGH B., Binchois and Sacred Music at the Brugundian Court, pp. 11-25


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  • WELLER P., Rites of Passage: Nove cantum melodie, the Burgundian Court, and Binchois’s Early Career, pp. 49-83


  • WRIGHT P., Binchois and England: Some Questions of Style, Influence, and Attribution in his Sacred Works, pp. 87-118


  • KIRKMAN A., Binchois the Borrower, pp. 119-135


  • GOZZI M., Wiser’s Codices and the Absconditus Binchois, pp. 137-160


  • SLAVIN D., The Binchois Game: Style and Tonal Coherence in Some Songs from the Mid-Fifteenth Century, pp. 163-180


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  • FALLOWS D., Binchois and the Poets, pp. 199-219


  • NOSOW R., Binchois’s Songs in the Feo Belcari Manuscripts, pp. 221-248


  • BROTHERS T., Accidentals in Binchois’s Songs, pp. 251-275


  • BENT M., The Use of Cut Signatures in Sacred Music by Binchois, pp. 277-312


  • PERKINS L. L., Towards a Theory of Text-Music Relations in the Music of the Renaissance, pp. 313-329