Guillaume Dufay Net Worth

Guillaume Dufay was born on August 13, 2005 in Brussels, French, is Music Composer. The great French-Flemish composer, Guillaume Dufay was undoubtedly one of the most influential composers of his time and age. His vast reservoir of music not only made him a versatile composer of different genres, but also put forth his talent in the field of merging modern music with a classic Renaissance touch. His bold approach also led him to incorporate western music styles into his music that affected and influenced most of his works. Most of his compositions have been compared to the likes of other eminent composers such as Machaut and Beethoven. With commendable versatility and a proclivity, he served in the Papal Choir and was also highly trained in the field of music. Many of the harmonies used in modern music were brought out by Dufay and he had also taught various composers on how to work with modern instruments and understand their different qualities. Dufay was contributory in writing music only for musical instruments and not vocal practices. These included the spinetto, the piano, clarinet and even the viol to name a few. From harmonies to folkloric rhythms of the Medieval Period, Guillaume’s music changed and defined the history of music, which went on to inspire countless musicians after him.
Guillaume Dufay is a member of Musicians

Age, Biography and Wiki

Who is it? Music Composer
Birth Day August 13, 2005
Birth Place Brussels, French
Died On November 27, 1474
Birth Sign Virgo

💰 Net worth: $100,000

Some Guillaume Dufay images



Two written works by Du Fay have been documented, but neither has survived. A note in the margin in a manuscript held in the Biblioteca Palatina in Parma refers to a Musica which he wrote; no copy of the work itself has been found. Nineteenth-century musicologist François-Joseph Fétis claimed to have seen a sixteenth-century copy of a Tractatus de musica mensurata et de proportionibus by Du Fay, last documented as having been sold to a London book dealer in 1824. The contents of neither work are known.


Du Fay composed in most of the Common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any of his works. Seven complete Masses, 28 individual Mass movements, 15 settings of chant used in Mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble-dominated part-writing with phrases ending in the "under-third" cadence in Du Fay's youth) and 87 chansons definitely by him have survived. Of Du Fay's masses, his Missa se la face ay pale and Missa L'Homme armé are listed on AllMusic as essential compositions.


Most of Du Fay's secular songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. He also wrote a handful of Italian ballate, almost certainly while he was in Italy. As is the case with his motets, many of the songs were written for specific occasions, and many are datable, thus supplying useful biographical information.


Du Fay was one of the last composers to make use of late-medieval polyphonic structural techniques such as isorhythm, and one of the first to employ the more mellifluous harmonies, phrasing and melodies characteristic of the early Renaissance. His compositions within the larger genres (masses, motets and chansons) are mostly similar to each other; his renown is largely due to what was perceived as his perfect control of the forms in which he worked, as well as his gift for memorable and singable melody. During the 15th century he was universally regarded as the greatest Composer of his time, an opinion that has largely survived to the present day.