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A common practice among Renaissance composers of sacred music involved using familiar melodies as a cantus firmus or fixed melody in the tenor part, typically drawn out in long note values. This was a consistent feature of the masses of Josquin, of which the Missa Gaudeamus employs the opening six notes of a Gregorian chant, Gaudeamus omnes in Domino, and the Missa L'ami Baudichon, which was based on the first three notes of a vulgar song. Such a mingling of the sacred and profane may strike modern listeners as jarring, ...

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