College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme arme – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme arme , and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden.

中文翻译：

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将音乐融入文艺复兴研究：L'homme armé 案例

专门针对文艺复兴文化的大学水平课程通常重视融合文学、艺术史和历史性质的主要来源和手工艺品。然而，同时代音乐的纪念碑作为教学资源继续被边缘化，尽管它们从美学和历史的角度来看都是完全有价值的。这项研究试图通过在 L'homme arme 上援引早期复调弥撒的传统来解决这个问题——这是一种在五乐章礼拜仪式循环中用作统一旋律（cantus Firmus）的世俗曲调。本文首先解释了假定的单声道曲调的起源和意义，然后详细介绍了一系列作曲家如何在各种大众环境中以有趣的不同方式使用这首歌。