The teachings of the French spread into Belgium, and there arose a school called the Gallo-Belgic. The first evidence of its existence is found in the mass of Tournay, sung by the choristers of the Tournay cathedral. Its composer is unknown, but it was written about 1330. It is in three parts, the tenor (voice carrying the fixed chant) in the middle, the descant (or counterpoint) above, and a bass below. It is not nearly so well developed in its polyphony as "Sumer is icumen in" or the works of the Frenchmen. Two of its voices move always in parallel fourths or fifths (as in Hucbald's "organum") and the other has a contrary motion. The most famous composer of the Gallo-Belgic school was William Dufay, born 1400, died 1474. He almost wholly abandoned the use of parallel fourths and fifths, which did so much to restrict composition, and he also adopted the open-note notation, which had made its appearance in France in the closing years of the French school. Dufay used the following notes:-- [Music: | Greater | Lesser| | Semi- | Semi- | Large| Long| Breve| Semi-Breve| Minim| minim | minim | Semi-croma | -----+-----+------+-----------+------+---------+-------+------------+ breve| semi-breve| minim| crotchet| quaver| semi-quaver|] I have placed under Dufay's notes their present equivalents, with the names. Dufay is the first composer of whom it is known that he made earnest efforts toward a more plastic style of composition than that previously in vogue. This was undoubtedly due to the considerable development of the art of composition. In his search after a freer style, he abandoned the strict "canon," and used "imitation" only here and there in his works. Furthermore, he discerned the musical worth of the songs of the people, and in doing so paved the way for the exertion of a large influence by folk-song upon artistic composition. His method of using the popular songs, however, was as bad as it was remarkable. In composing a mass he would substitute in place of the fixed chant of the liturgy some popular air; and he put the words in along with it, probably because the words of the liturgy could not be sung to the tune. Hence, in three masses by Dufay, still extant, the melodies and texts of three songs of his day are found. One of these songs, "L'Omme Armée," became such a favorite that for more than a century nearly every prominent composer wrote a contrapuntal mass around it. This abuse had finally to be checked by the authorities of the Church. Dufay did another thing, of more benefit to music. He wrote some music in a very simple style, in which there were passages of pure chord harmony, such as we use in our music to-day. As an example of this, I quote the beginning of a fragment of one of his masses, reproduced in Naumann's "History of Music":-- [Music: Dufay Mass]