THE “TINCTORIS GENERATION”
The musical literati from whom Tinctoris drew his didactic examples are the very ones whose works are found in practical sources throughout Europe irrespective of provenance. In the same preface to his book on mensural proportions in which he called Dunstable the fountainhead of contemporary music and consigned everything earlier to oblivion, Tinctoris cited an honor roll of his great coevals—a sort of musical peerage. Pride of place went to Johannes Ockeghem and Antoine Busnoys, who in their joint pre-eminence have, much like Du Fay and Binchois, haunted historical memory as a pair.
- Citation (MLA):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 Sep. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 12 Emblems and Dynasties. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 29 Sep. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 Sep. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012002.xml