=The Men=.—The men of this period are more important than any that have yet been mentioned, and for that reason require more detailed study. =H. de Zeelandia= (13—-1370), a native of Flanders, was a teacher and composer, and author of a theoretical treatise with musical examples, “De Musica”; with him the use of consecutive fourths, fifths and octaves almost disappears, though it remained for a later composer to abolish these entirely. =Guillaume Dufay= (1355-1435) was the one to whom this reform must be finally accredited. He used in place of the old church form of Cantus Firmus, the popular melodies of the people with their tendency toward the Natural Scale and the use of the Leading Tone and its decisive tonality; it may be said that these melodies were not used in their entirety, or even in their original form, the rhythm and meter oftentimes being altered so that the airs were hardly recognizable, though the essential parts were there. It is Dufay who is responsible for the first intelligent use of Imitation as a basis for the Canon. =Gilles (Ægidius) Binchois= (1400-1465) was a noted composer and, with Dufay, a joint founder of the Gallo-Belgic school. He is said to have been a soldier before he entered the Church, and must have been of a light-hearted disposition, as he was called “the father of joyousness.” He was the teacher of Okeghem, Firmin Caron and of Busnois. =Antoine de Busnois= (1440-1481) was the last famous master of this school before it was merged into the school of the Netherlands. In his works one can note a further progress in smoothness of style and examples of well managed imitation. The character of the latter is so scholarly and so clearly not a matter of improvisation that we must consider him a man given to study and reflection, just the kind of character to give scientific study to the principle of Imitation.