The modal principles extrapolated from Tinctoris's treatises (Liber de natura et proprietate tonorum, Liber de arte contrapuncti, Expositio manus) form the model or springboard for analysis and discussion of the modal features of Ockeghem's Masses. The choice of Tinctoris, as contemporary and admirer of Ockeghem, ensures that terminology and musical concepts specific to the time are adhered to, in the search for the fifteenth-century modus operandi.
The Masses chosen have been limited to those in the Chigi Codex. Transcriptions of these Masses will be provided with analytical annotations for reference.
The primary aim is to investigate the level of conscious use of mode in Ockeghem's Masses. Analysis and discussion of modal practices aim to look beyond the merely technical in order to form a view of the individuality of each work, and to contribute towards an understanding of Ockeghem's uniqueness. A correlated area under investigation is the question of theory versus practice and the applicability of Tinctoris's theory to Ockeghem's practice.