Antonio wrote both sacred and secular vocal music. Of the sacred music, four mass movements and six motets have survived (some of the motets were incidental pieces written for specific occasions; these are the ones with known dates). The motets are for three or four voices, the mass movements for two or three. Stylistically, his lines are short, broken by rests, and depend on repetition as well as sequential treatment of short motifs. He was also interested in compositional "tricks" such as phrases which are first sung forward, then backward, and in addition he wrote parts that were sometimes strictly canonic. Isorhythm and other traits of the contemporary French style are prominent, but unlike the French composers, Antonio seems to have written the tenor parts to his motets himself, rather than borrowing them from pre-existing chant. He was a fairly prolific composer, and while it is not known how much of his music is lost, his six surviving motets are one of the largest groups of surviving motets by a single Italian composer of the time. Most of his music survives in sources in northern Italy.