from it directly. Richard Taruskin attempts to prove that Busnois' was the model later L'homme armé masses were based upon through a study of the composer's numerological symbology within the work, and by demonstrating that Dufay and others were emulating (or paying homage) to this aspect, among others. David Fallows points out that the complexity of the Busnois mass may indicate that he was actually borrowing from Dufay. Busnois may even be the composer of a cycle of six Masses all based on the same tune, found in Naples, on the basis of stylistic comparison. But Busnois' polyphonic chansons (French secular songs) are the works on which his reputation mainly rests. Most are rondeaux, but some are bergerettes; many of them achieved the status of popular songs, and some were perhaps based on other popular songs which are now lost. He probably wrote the words for almost all of his chansons. Some of his tunes were recycled as cantus firmus for Masses composed more than a generation after his death, for instance Fortuna desperata (which was used both by Obrecht and Josquin), though this attribution is controversial. An unusual chanson is Terrible dame, which is not only an antiphonal dialogue (unique in the chanson literature) but has an Old French title requiring no special skill to translate. While most of Busnois's secular songs are set to French words, at least two employ Italian texts and one is in Flemish. Most are for three voices, although there are a few for four. Works Certain attributions Masses Missa L'homme armé; Missa O crux lignum; Patrem Vilayge. Motets and magnificats Ad coenam agni providi; Alleluia, verbum caro factum est; Anima mea liquefacta est / Stirps Jesse; Anthoni usque limina; Asperges me (lost); Conditor alme siderum; Gaude coelestis domina; In hydraulis; Lamentation on the death of Guillaume Dufay (probably written in 1474, lost); Magnificat sexti toni; Noel, noel; Regina caeli (I); Regina caeli (II); Victimae paschali laudes. Secular music moy; Advegne que advenir pourra; Amours nous traicte / Je m'en vois; A qui vens tu tes coquilles; Au gré de mes iculx; A une dame; Au povre par necessité; A vous, sans autre; Bel acueil; Bone chére; Ce n’est pas moy; C'est bien maleur; C'est vous en qui; Con tutta gentileça; Corps digne / Dieu quel ; Cy dit benedicite; En soustenant; En tous les lieux; En voyant sa dame; Esaint-il merci; Faictes de