The vocal works of Vincenet du Bruecquet appear in nineteen fifteenth- and sixteenth-century manuscripts held in libraries across the globe. Yet despite the prolific reputation of his contemporaries, knowledge about the life and musical career of the Franco-Flemish composer largely remains a mystery. Three key documents uncover the minimal biographical evidence that musicologists have on Vincenet, identifying that he was born in Hainaut, Belgium, that he was active as a singer and a scribe at the Aragonese chapel of King Ferrante I, and that he left behind a widow upon his death in Naples in or around 1479. The absence of his works from the corpus of modern accessible editions means that his work, clearly held in some repute among his contemporaries, is in danger of slipping into obscurity. 

Using Vincenet as a starting point, this investigation aims to examine those composers who have routinely been placed at the periphery of the Neapolitan music scene, including musicians, composers, copyists, and other persons of prosopographical interest, and therefore provides the first major reconsideration of Neapolitan musical contexts beyond Tinctoris and other leading composers of the Aragonese court in over forty years.