According to Pietro Aron, Busnois may have been the composer of the famous tune "L'homme armé", one of the most widely distributed melodies of the Renaissance and the one more often used than any other as a cantus firmus in Mass composition. Whether or not he wrote the first Mass based on "L'homme armé", his was by far the most influential; Obrecht's setting, for example, closely parallels that of Busnois, and even Dufay's quotes from it directly. Richard Taruskin attempts to prove that Busnois' was the model later "L'homme armé" masses were based upon through a study of the composer's numerological symbology within the work, and by demonstrating that Dufay and others were emulating (or paying homage) to this aspect, among others. David Fallows points out that the complexity of the Busnois mass may indicate that he was actually borrowing from Dufay. Busnois may even be the composer of a cycle of "six" Masses all based on the same tune, found in Naples, on the basis of stylistic comparison.