Busnois's Missa L'homme armé was considered one of the most important works of the late 15th century. A multitude of composers, such as Dufay, Basiron, and Faugues, borrowed elements from it, while Obrecht and an unknown composer even used its rhythmic structure as a foundation for their own compositions. The significance of this work is underscored by its preservation in seven different manuscript sources. Music historians suggest that Busnois himself may have composed the melody underlying the Mass.[2][5] Busnois was praised as an outstanding composer by Johannes Tinctoris, and his literary talents were also recognized. His L'homme armé Mass was by no means the only work of his that influenced other artists. His colorful personality is reflected in his music, as in the motets on his patron saint. Although he was known for his argumentative nature—as evidenced by the famous story from his youth in which he repeatedly attacked a priest—it is primarily through his music that his voice speaks to us most powerfully.[2] Few compositions have had such a lasting impact as Busnois' Missa L'homme armé, renowned for its virtuosic brilliance. This music demands a high degree of self-confidence from its performers and impresses with its temporal precision and masterful command of rhythm and pitch. Busnois possesses an extraordinary sense of melodic shaping and composition that captivates listeners.[2] The motet Gaude celestis domina demonstrates Busnois' compositional genius and delights with its rhythmic energy. Anima mea liquefacta est surprises with its stylistic originality. The music of Busnois testifies to his expressive temperament and deeply moves the listener.[2] There are similarities in compositional technique between Busnois and Domarto, although their works convey different listening experiences. The compositions of Busnois and Pullois share dark timbres and concise melodic lines. Flos de spina confirms this with its expressive depth and beauty.
