[9][n 3] While historian Gaston Raynaud dates the text between April and 28 May 1377,[11] Andrieu may have set it to music anytime from then up until 15 years later (the Chantilly Codex was likely assembled sometime during 1393 to 1395).

[8] Musicologist Guillaume de Van proposed that the Chantilly Codex was created for use in music schools; because of this, stylistic similarities to Machaut, and the lack of additional records on Andrieu, musicologist Robert Magnan suggested Andrieu was a student or teacher, utilizing Machaut's style to honor his master.

[15] Andrieu's work is one of two extant four-part double ballades of medieval music,[16] the other being Quant Theseus/Ne quier veoir (B 34) by Machaut.

[15][18][n 5] Andrieu's decision for more traditional vocal parts may be a reflection of Deschamps's text, which is written in a "classicized high poetic style".

(second strophe by Cantus II) Eustache Deschamps[27] The fount of Dirce, the fountain of Helie, Of which you are the stream and the course In which poets have put their study Must now be muted, which me much distresses.

It is for you, who lie cold and dead, That I have grievous pain, lacking reply, Weep, harps and Saracenhorns, for The death of Machaut, the noble rhetorician English translation by Howard B. Garey[27] The text of Deschamps's two ballades share a refrain: "La mort Machaut, le noble retorique".

[13][n 8] Musicologist Elizabeth Randell Upton notes that the "shared refrain receives the most striking coordination of the ballades' voices".

[18] Rice considers the refrain a reoccurring "planctus" since it appears at the end of each strophe; ballades were typically in aabC form – where C is always the same.

[28] Andrieu signifies the "planctus" by setting the words "La mort" and "Machaut" in long notes but followed by rests.

[28] By inserting rests, Andrieu disrupts the music and signifies the sudden outburst of emotion that characterizes a "planctus".

(first strophe by Cantus I) Eustache Deschamps[29] Weapons, loves, ladies, chivalry, Clerks, musicians, and writers in French, All sophists, all poetry, All those who have melodious voices, Those who sing to the organ on occasion And who value the gentle art of music, Give way to grief, lament, for it is only right, The death of Machaut, the noble rhetorician English translation[30] Musicologist Elizabeth Eva Leach notes that the Armes, amours/O flour des flours has both textual and musical similarities to Machaut's poetry and music respectively.

[34][35] It also shows a resemblance to Machaut's ballade De Fortune (B23); both works have "the same tonal emphases" and "similar tenor notes at key structure points".

[33][n 11] In Andrieu's work, the shared theme appears when the two cantus voices engage in musical imitation, something which was uncommon at the time.

[39] Leach disagrees, saying that it being the earliest known musical lamentation for a fellow composer recognizes his "poet-composer" status, as do the words "faysaur" (maker) and "retorique" (rhetorician).