moved to Burgundy. Busnois was at the Burgundian court by 1467. His first compositions there appeared immediately before the accession of Charles as Duke on 15 June, since one of his motets — In hydraulis — contains a dedication to Charles calling him Count. On becoming Duke of Burgundy, he quickly became known as Charles the Bold for his fierce and sometimes reckless military adventurism (which indeed led to his death in battle ten years later). But Charles loved not only war but also music, appreciating and rewarding Busnois for works composed while in his service. Busnois was listed along with Hayne van Ghizeghem and Adrien Basin as "chantre et valet de chambre" to Charles in 1467. In addition to serving Charles as singer and composer, Busnois accompanied the Duke on his military campaigns, as did Hayne van Ghizeghem. Busnois was at the siege of Neuss in Germany in 1475, and survived (or missed) the disastrous Battle of Nancy in 1477 at which Charles was killed and Burgundian expansion was ended forthwith and forever. Busnois remained in the employ of the Burgundian court until 1482, but nothing exact is known about his exploits between then and the year of his death. At the time of his death, in 1492, he was employed by the church of St. Sauveur in Bruges. Music Busnois' contemporary reputation was immense; he was probably the best-known musician in Europe between Guillaume Dufay and Johannes Ockeghem. He wrote sacred and secular music. Of the former, two cantus firmus Masses and eight motets have survived, while many others were most likely lost. He set the Marian antiphon Regina coeli several times. Stylistically, his music can be considered a midpoint between the simplicity and homophonic textures of Dufay and Binchois, and the soon-to-be pervasive imitative counterpoint of Josquin and Gombert. He used imitation only occasionally but skillfully, created smooth and singable melodic lines and had a strong feeling for triadic sonorities, anticipating 16th-century practice. According to Pietro Aron, Busnois may have been the composer of the famous tune L'homme armé, one of the most widely distributed melodies of the Renaissance and the one more often used than any other as a cantus firmus in Mass composition. Whether or not he wrote the first Mass based on L'homme armé, his was by far the most influential; Obrecht's setting, for example, closely parallels that of Busnois, and even Dufay's quotes