Busnois's version of In meinem Sin is used in a sixteenth-century painting by Antoniszoon, entitled Banquet of Seventeen Members of the Civic Guard. Busnois's treatment of the melody is in turn interesting, for it illustrates an attempt at imitative counterpoint, the technique chosen instead of the more traditional cantus firmus structure. In Meinem Sin was a popular tune, existing in many languages, and was known throughout all levels of society.

Works: Anonymous: Bien soiez venu/Alleluya a mi faul canter (double chanson) (138-42); Gombert: Alleluya my fault chanter (1529) (142); Mathias Greiter: In meinem Sinn mir gefällt (143).

Index Classifications: 1500s

Contributed by: Marc Moskovitz