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Arthur), apparently an allusion to king Edward III (reigned 1327 – 1377), who liked to see his role as the founder of the Order of the Garter likened to that of the legendary Arthur.

Another allusion to a "warlike prince" (princeps bellicus) among the musicians' royal patrons can easily be decoded as a reference to the king's famous son, Edward, the Black Prince.

It has been linked to the court of Gaston III of Foix-Béarn, count of Foix.

The presence of an English piece in this otherwise French collection has been explained through contacts between this court and neighbouring English possessions in France.

Note that if the versions have a very similar title and are in the author's profile, the links will usually be created automatically.

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There, details are also given on how to add or correct references and citations.

Q 15, a collection that otherwise represents a somewhat later repertoire with many works from the early 15th century.

Bowers comments on the idea that an English composer might have been the first to invent this technique: There is nothing inherently improbable in this suggestion: not everything new in fourteenth-century composition had to come out of France […] And of course, as far as the originator was concerned, the occasion of its invention was not the conscious inauguration of a major formal development in the history of musical design; to him it was a smart but one-off party trick (of the originality of which he was justifiably proud) The motet is known from three contemporary manuscript sources. 564 (olim 1047), probably an Italian copy written after 1400, of a French original compiled around 1395.

This codex contains 99 polyphonic chansons and 13 motets from the repertoire of the French Ars nova and Ars subtilior.

As with all isorhythmic motets, its structural plan is defined by its tenor part, the foundational voice of the composition.

It consists of a sequence of 24 notes taken from a pre-existing piece of Gregorian plainchant, used as a cantus firmus.

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