This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495--1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed. This dissertation examines the second practice of multivoice writing in the sacred music of Gombert. My study is concerned with multiple issues essential in understanding Gombert's works and their relationship to other techniques of vocal writing in the...

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