Quant ce viendra
	Anonymous (?Busnoys): Kyrie   Gloria   Credo   Sanctus Edition:  Antoine Busnoys, Collected Works, ed. Richard Taruskin, 3 vols. (New York: The Broude Trust, 1990), 2: 000-000. Source used for this recording: TrentC 89, fols. 318v-330r (c.1460-63).

Quant j’ay au coeur
	Heinrich Isaac: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Heinrich Isaac, Opera omnia, ed. Edward R. Lerner, 8 vols. to date, Corpus mensurabilis musicae, 65 ([s.l.:] American Institute of Musicology, 1974- ), 7: 43.

Quem dicunt homines
	Josquin des Prez: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Johannes Richafort, Opera Omnia, ed. Harry Elzinga, 3 vols. to date, Corpus mensurabilis musicae, 81 (Neuhausen-Stuttgart: American Institute of Musicology: Hänssler-Verlag, 1979- ), 4: 1-34. (I am most grateful to Professor Harry Elzinga for sharing with me the page proofs of his forthcoming edition, and allowing me to post sound recordings on this website.) Josquin’s Missa Quem dicunt is a setting of rapturous, unearthly beauty—the Agnus Dei III alone is divine. The Mass was rejected as spurious from the New Grove Worklist, on the grounds: “style generally untypical.” The latter point is, of course, as true as it is to be expected, in a late Josquin Mass that would show some awareness of what leading composers at the French Royal Court—Févin, Richafort, Divitis, and Mouton—had been doing during the 1510s. Josquin’s choice of model, a motet by Richafort, is in itself already indicative of such awareness. To hear the motet is to realize that Josquin could not possibly have avoided writing the Mass in a style that must seem untypical when compared to his settings of the 1490s and early 1500s. How else should he have treated a motet like Richafort’s, except exactly as he did? Still, the prevailing belief among Josquin scholars seems to be that the composer ended his days as an arch-conservative, doggedly persisting in working habits that had defined him earlier in his career, and aloof from what was going on around him. It is this belief, hardened into a criterion of authenticity, that has caused the Josquin canon to lose several firmly-attested late works: the Missa Quem dicunt, the motet Inter natos mulierum, and (unless this unwholesome trend is soon reversed) Missa Pange lingua.
	Jean Mouton: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Joannes Mouton, Opera omnia, ed. Andreas C. Minor, 4 vols. to date, Corpus mensurabilis musicae, 43 ([Dallas]: American Institute of Musicology, 1967-), 3: 40-64.
	Anthonius de Rycke [Divitis]: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Antonius Divitis, Collected Works, ed. B. A. Nugent, Recent Researches in the Music of the Renaissance, 94 (Madison, Wisc.: A-R Editions, 1993), 39-77.

Quem malignus spiritus
	Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Margaret Bent, ed., Fifteenth-Century Liturgical Music: II. Four Anonymous Masses, Early English Church Music, 22 (London: Stainer and Bell for The British Academy, 1979), 35-77.