The Laborde Chansonnier (Wash.L.C. 2.1 L25 Case) is one of the most important but least studied of the Franco-Burgundian chansonniers of the fifteenth century. It contains 106 chansons, 22 of which are unica. / Fallows, Brown, Montagna, Kenney, Perkins and others have discussed the transformation of the style of the chanson over the course of the 15th century. Little has been written specifically on the period of the Laborde chansonnier. With reference to musical features such as melodic style, imitation, cadences, metrical structure, role of the contratenor, and range of note values, I discuss the style of the chansons, first in general, and then layer by layer, charting the changes in a crucial period. Although these changes are gradual, it is possible to follow the development of the chanson during the period between 1450 and the beginning of the sixteenth century. / The Laborde Chansonnier contains twenty-five unica, of which four have appeared in modern editions, and one of which is incomplete. I have transcribed the other twenty and also four other chansons which I could not find in modern editions. (Abstract shortened by UMI.)

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This study is the first step toward a better understanding of the introduction of pervasive imitation at the end of the fifteenth century. The focus is on selected works of Loyset Compère: the ténor motet Omnium bonorum plena, two motetti missales cycles and twenty chansons. Four types of repetition have been identified in these works: imitation, free repetition, repeated modules and doubling. The main analysis is based on the statistical frequency of the different types of repetition. Percentage tables allow us to observe stylistic changes between early and late chansons and also underline some resemblances between late chansons and motetti missales. Different types of repetition tend to vary in length; imitation generally uses longer melodic lines than other types of repetition. I also studied pitch intervals of repetition used by Compère. I have noticed that unlike some composers of the time, Compère used pitch intervais other than the octave and unison, mainly the fifth and principally in his late chansons. Finally, I have constructed a System of modular classification which allowed me to identify unifying devices used by Compère in his motetti missales. The results presented in this thesis suggest that Loyset Compère was a major contributor to the evolution of pervasive imitation.

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