Tant bel mi sont pensade
	Johannes Prioris: Kyrie   Gloria   Credo   Sanctus   Agnus Dei My warmest thanks to Theodor Dumitrescu for allowing me to use his transcription of this Mass. Published edition. Johannes Prioris, Opera omnia, ed. T. Herman Keahey and Conrad Douglas, Corpus Menurabilis Musicae, 90, 2 vols. (Neuhausen-Stuttgart: American Institute of Musicology, Hänssler-Verlag, 1982-1985), 1: 94-133.

Tant que nostre argent dura
	Anonymous: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  JenaU 31, fols. 6r-22r.  I am most grateful to Dr Carlo Bosi for allowing me to use his transcription of this Mass.

Te gloriosus
	Anonymous: Gloria (up to “Domine fili”) Source:  LucAS 238, fols. 25r-26v (c.1467-69?).

Terriblement suis fortunée

Barbingant: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Sources:  VatSP B80, fols. 80v-90r (used for this recording); VerBC 759, fols. 9v-15r. Edition: Jacobus Barbireau, Opera omnia, ed. Bernhard Meier, 2 vols., Corpus Mensurabilis Musicae, 7 (Amsterdam: American Institute of Musicology, 1954), 1: 000-00. The historical significance of this Mass was forever secured by a detailed analytical study (in Dutch) by John Daniskas, “Een bijdrage tot de geschiedenis der parodietechniek,” Tijdschrift der Vereeniging voor Nederlandse Muziekgeschiedenis, 17 (1948-55): 21-43. Since the Mass is based not only on the tenor of the original song, but also, more loosely, on the discantus, the experience of hearing each movement becomes one of charting, however subconsciously, a familiar path along the roadmap provided by the song itself: each major landmark is anticipated long before it arrives, even though there may be extensive free interludes between landmarks. This is the procedure that Faugues would take a step further in his Missa Le serviteur, of course, though he made his allusions to the model so transparent and literal as to render the setting at times tediously predictable. Barbingant’s handling of the procedure seems more subtle, in that he keeps the song more thoroughly submerged under his own counterpoint, and lets it break through to the surface in less obvious and more playful ways. His setting is a delight.

Thomas cesus

?Firminus Caron: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Source:  VatSP B80, fols. 166v-181r. Caron’s authorship proposed by Christopher A. Reynolds, Papal Patronage and the Music of St. Peter’s, 1380-1513 (Berkeley, Los Angeles, London: University of California Press, 1995), 203-227. The style of Missa Thomas cesus is very closely related to that of the anonymous L’homme armé Masses in NapBN 40, so much so that either they must be by the same man, or else were written by composers working in immediate proximity. Thomas cesus must date from the 1450s; one can hear the influence of the anonymous English Missa Caput at every turn.

Trompetta
	Estienne Grossin: Kyrie   Gloria   Credo   Sanctus* Edition: Gilbert Reaney, ed., Early Fifteenth-Century Music, 7 vols., Corpus mensurabilis musicae, 11 ([Rome] : American Institute of Musicology, 1955- ), 3: 28-42. * The Sanctus is fragmentary.

Tue voluntatis
	Giovanni Spataro (lost): Mentioned in correspondence between Petro Aaron, Giovanni del Lago, and Giovanni Spataro, 1523 and 1532. See Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 274, 277, 476, 482-86, 490-91, 494, 500-1, 506, 509-10, 513-47 passim.