Many of Du Caurroy's chansons written in this style were not published until 1609, long after the disbanding of the Académie, and they contrast significantly with his otherwise more conservative musical output.
According to Du Caurroy, he was initially hostile to writing in the style, but was so moved by a performance of a composition of Le Jeune's, a pseaume mesuré sung by a hundred voices, that he wanted to attempt it himself.
Du Caurroy was primarily interested in counterpoint, and was widely read in the theoretical work of the time, including that of Gioseffe Zarlino, who provided the best available summation of the contrapuntal practice in the 16th century.
His contrapuntal interest is best shown in his sacred music, of which the largest collection is the two volumes of motets, 53 in all, entitled Preces ecclesiasticae, published in Paris in 1609.
In this same book, Mersenne held that Du Caurroy was the finest composer of musique mesurée, outranking even the renowned Claude Le Jeune.