Philippe le Chancelier, or “Philip, the Chancellor,” was created in Paris in the mid-1160s, an illegitimate boy caused by the union between a Parisian archdeacon and a female linked to the nobility. Luckily Philip’s uncle was Peter of Nemours, bishop of Paris, who recognized youthful Philip and stewarded him via an education obtained at the recently formed College or university of Paris. Philip trained theology in the University for quite some time before being called archdeacon of Noyon sometime across the turn from the thirteenth hundred years. In 1217 Philip was called chancellor from the Notre Dame Cathedral, a posture he kept until his loss of life nearly twenty years later on; Philip also maintained his name as archdeacon of Noyon beyond his visit to Paris. Philip, the Chancellor, is definitely recognized to scholars of middle ages thought among the most intensifying of thirteenth hundred years theologians through his system Summa de bono. Philip is normally likewise perhaps one of the most prolific writers of verse found among the secular experts of his period, nonetheless it wasn’t before tail end from the twentieth hundred years that musicologists begun to take a pastime in Philip being a author of music. A lot of the primary manuscripts that his verse is well known bear witness for some sort of musical notation. Scholars acquired assumed which the musical element in Philip’s literary result was the task of various other hands; for instance, his Notre Dame-based modern Pérotin may have set among Philip’s text messages. But closer study of the familiar manuscript resources, especially compared to anonymously sent versions held somewhere else, show that Philip was most likely the author of some 80 to 90 bits of music bearing his literary text messages. The pieces consist of both monophonic and polyphonic functions, including lais, sequences, rondeaux, conductus, and jeu-parties. Topics in the text messages addressed range between complicated biblical allegories to commentary about current occasions and particular people. Concerning how many of Philip’s musical configurations genuinely participate in him is however a matter of issue — this entire field of research didn’t commence before 1980s. Nonetheless it adds yet another recognizable name, alongside that of Léonin and Pérotin, towards the pantheon from the greatly influential, but still generally anonymous, band of composers who constructed the institution of Notre Dame.