Guillaume Dufay

Also found in: Wikipedia.

Dufay, Guillaume

(gēyōm` düfā`), c.1400–1474, principal composer at the Burgundian court. After his early training in the cathedral choir at Cambrai, he sang in the papal chapel in Rome (1428–33) and later in Florence and Bologna (1435–37). He was in the service of the antipope Felix V for seven years and was a canon of the cathedral of Cambrai, where he lived from 1445 until his death. He traveled a great deal, knew many musical styles, and was highly esteemed by his contemporaries. His music is in the northern French tradition, but contains some Italian and English elements. He composed three-part chansons, masses, and motets.


See studies by Hamm (1964) and Fallows (1982).

Dufay, Guillaume


Born about 1400; died Nov. 27, 1474, in Cambrai. Franco-Flemish composer; one of the founders of the Netherlands school. Worked in Italy and France.

From 1428 to 1437 he was a singer in the papal choirs in Rome and other Italian cities, and from 1437 to 1444 he served the duke of Savoy. From 1445 he was a canon and the director of music at the cathedral in Cambrai. Dufay was a master of both sacred music, notably three- and four-part Masses and motets, and secular compositions, including three- and four-part French and Italian chansons, ballads, and rondos, reflecting national polyphonic traditions, as well as the humanist culture of the Renaissance. Dufay’s art, which had absorbed the achievements of European musical art, had a great influence on the further development of European polyphonic music. He was also a reformer of notation, being credited with introducing white notes. His complete collected works were published in Rome (6 vols., 1951-66).


Borren, C. van den. Guillaume Dufay: Son importance dans l’évolution de la musique au XVe siècle. Brussels, 1925.
References in periodicals archive ?
In 1982, David Fallows' path-breaking life and works study of Guillaume Dufay (ca.
Featured composers include Orlando de Lassus, Johannes Ockeghem, Phillipe Rogier, Guillaume Dufay, and Philippe de Monte, among others.
From the dance we are led to the figure of the Christian Armed Man whose march, "forward and backward through the maze of life" (175), is mirrored in music by retrograde motion, a device that accounts for the structure of Masses by composers such as Guillaume Dufay, whose Missa L'Homme arme (1450s/60s) was the first polyphonic Mass incorporating the Armed Man theme.
Nuper rosarum flores has long been known to musicologists and historians of Florence as the brilliant isorhythmic motet commissioned from Guillaume Dufay for the dedication of the new Cathedral of S.
The music comes to us courtesy of 14th-, 15th-, and 16th-century composers such as Orlando di Lasso, Guillaume Dufay, Estienne Dutertre, Clemens non Papa, Philippe Rogier, Philippus de Monte, and others.
Mixed in with these tunes are more formal pieces by Thomas Tallis, Guillaume Dufay and Hildegard von Bingen.
The Renaissance (early 15th to early 17th centuries) half of the program will sweep through madrigals, motets, chanconnes, part-songs, one movement of a mass and dance music, mainly from France, Germany, Italy and England by such masters as Guillaume Dufay, Johannes Ockeghem, Josquin Desprez, Claudin de Sermisy, Clement Janequin, Orlando di Lasso, Orazio Vecchi, Luca Marenzio, Giovanni Pierluigi da Palestrina, Hanns Leo Hassler, Orlando Gibbons, Thomas Morley and John Dowland.
Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay.
Fallows has suggested that Guillaume Dufay may have composed liturgical music for the inauguration of the high altar at this time.
The program will include music by Guillaume Dufay, Giacomo Perti, G.
This manuscript, copied in termittently from around 1503 to 1548 by Carver and others, contains, in addition to the seven works by Carver, sacred music by Guillaume Dufay and by William Cornyshe, Robert Fayrfax, Walter Lambe, and John Nesbet (four English composers also well represented in the Eton Choirbook) that must have influenced Carver and other Scottish composers.
The program featured works by Guillaume de Marchaut (1300-1377) and Guillaume Dufay (1400-1474) that emphasized the shift from late medieval music to the early Renaissance.