This dissertation discusses the sixty-six chansons and two madrigals of Dominique Phinot ( <I>fl. c.</I> 1510 - <I>c.</I> 1556). These works are worthy of study in their own right. In addition, many contain innovatory elements which are historically significant. The dissertation is divided into six parts containing in total eleven chapters. Part A ( Chapter 1) summarizes Phinot's career and <I>oeuvre</I>, drawing upon both fact and speculation. Part B ( Chapters 2-6) deals with Phinot's four-voice non-canonic chansons, which are grouped according to the structures of their poetic texts. Chapters 2, 3 and 4 discuss, respectively, the quatrain, huitain and dizain settings, the largest and most important categories. A miscellaneous group of settings, whose texts comprise the cinquain 'D'estre amoureux', two sizains, three septains and the irregularly structured 'Lynote', is examined in Chapter 5. Chapter 6 assess three settings whose texts are translations by Jean Martin of poems by Pietro Bembo. The six canonic chansons, which include the eight-in-four setting of 'A dieu, Loyse', are discussed in Part C ( Chapter 7). Part D is divided between an introduction to Phinot's double-choir style in the context of early sixteenth-century sacred polychoral composition ( Chapter 8) and an examination of his three double-choir chansons ( Chapter 9). Part E ( Chapter 10) is devoted to the two madrigals. Part F ( Chapter 11) summarizes the essential features of Phinot's chansons and madrigals and evaluates their historical significance. A bibliography, copies of primary source documents and transcriptions of selected poetic texts are included in the Appendix.