Sebastian z Felsztyna

Of Sebastian's musical compositions, three motets survive. all composed in 1522. They are for four voices, and use a plainchant tenor in long notes—an archaic practice at the time of publication—with the other voices sometimes engaging in imitation, in free counterpoint, or in more homophonic textures. All three are preserved a manuscript now held in Wawel Cathedral. While archaic in style, they show the influence of the Franco-Flemish school, and are a rare early example of four-voice polyphony in Poland. Sebastian published a collection of his hymns in 1522 in Kraków, Aliquot hymni ecclesiastici, but no copies exist. His theoretical treatises cover the topics of notation and chant. His most popular was Opusculum musices (c. 1519), which was published in Kraków five years after theoretical treatises first appeared in Poland. It was most likely intended as an instructional work for singers. He produced Directiones musicae ad cathedralis ecclesiae Premisliensis usum (1544), and a version of St Augustine's De Musica, both of which proved less popular than the Opusculum, which was reprinted more than once. The relatively simple treatise lacked the normal discussion on counterpoint.

• Opusculum musice compilatum noviter • Opusculum musices noviter congestum • De musica dialogi VI (Kraków, 1536) • Directiones musicae ad cathedralis ecclesia Premislensis usum (Kraków, 1543) • Opusculum musice mensuralis (Kraków, 31 October 1517) • De inventoribus musicae