˘ I can't get no – o Backbeat trans.: ¯ ˘ ¯ ˘ I can't get no – o Before-the-beat: ¯ ˘ ¯ ˘ I can't get no – o This demonstrates how each syncopated pattern may be heard as a remapping, "with reference to" or "in light of", an unsyncopated pattern. History Syncopation has been an important element of European musical composition since at least the Middle Ages. Many Italian and French compositions of the music of the 14th-century Trecento use syncopation, as in of the following madrigal by Giovanni da Firenze. (See also hocket.) The refrain "Deo Gratias" from the 15th-century anonymous English "Agincourt Carol" is also characterised by lively syncopation: According to the Encyclopædia Britannica, "[t]he 15th-century carol repertory is one of the most substantial monuments of English medieval music... The early carols are rhythmically straightforward, in modern 6/8 time; later the basic rhythm is in 3/4, with many cross-rhythms... as in the famous Agincourt carol 'Deo gratias Anglia'. As in other music of the period, the emphasis is not on harmony, but on melody and rhythm." Composers of the musical High Renaissance Venetian School, such as Giovanni Gabrieli (1557–1612), exploited syncopation for both their secular madrigals and instrumental pieces and also in their choral sacred works, such as the motet Domine, Dominus noster: Denis Arnold says: "the syncopations of this passage are of a kind which is almost a Gabrieli fingerprint, and they are typical of a general liveliness of rhythm common to Venetian music". The composer Igor Stravinsky, no stranger to syncopation himself, spoke of "those marvellous rhythmic inventions" that feature in Gabrieli's music. J. S. Bach and George Handel used syncopated rhythms as an inherent part of their compositions. One of the best-known examples of syncopation in music from the Baroque era was the "Hornpipe" from Handel's Water Music (1733). Christopher Hogwood (2005, p. 37) describes the Hornpipe as “possibly the most memorable movement in the collection, combining instrumental brilliance and rhythmic vitality… Woven amongst the running quavers are the insistent off-beat syncopations that symbolise confidence for Handel.” Bach's Brandenburg Concerto No. 4 features striking deviations from the established rhythmic norm in its first and third movements. According to Malcolm Boyd, each ritornello section of the first movement, "is clinched with an Epilog of syncopated antiphony": Boyd also hears the coda to the third movement as "remarkable... for the way the rhythm of the