Abstract
The songs of Gilles de Bins („Binchois“) have proven a conundrum for modern readers and listeners. Although Binchois’ works belong to the most frequently copied and quoted works of the earlier 15th century and are readily available in a complete modern edition since the 1950s, they are still considered as „reticent and hermetic works“ (Planchart) that need „far more technical explanation“ (Fallows). It is the latter I will approach in this seminar by reading Binchois’ counterpoint in historical context with special emphasis on (substitute-)contratenors, dissonance-practice and some contrapuntal commonplaces inherited from vocal „performance composition“ (Treitler). As often, what we consider „reticent“ or „hermetic“ heavily depends on what we measure as ‘normal’ or ‘clear’.