Fabrice Fitsch’s *Johannes Ockeghem Masses and Models* offers a detailed examination of the composer’s liturgical output, focusing on the structure, style, and historical context of his 15th‑century mass settings. Drawing on manuscript evidence and contemporary theoretical treatises, the book reconstructs how Ockeghem’s masses functioned within the evolving practices of the Burgundian court and the broader European musical landscape. Fitsch analyzes compositional techniques such as cantus firmus treatment, imitation, and modal harmony, illustrating each point with musical examples and scholarly commentary. The work also situates Ockeghem’s models within the tradition of medieval and early Renaissance mass composition, highlighting their influence on later composers. Intended for musicologists, performers, and students of early music, the volume combines rigorous research with clear explanations, making it a valuable reference for anyone interested in the development of Western sacred music.

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