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Instrumental music was also cultivated at the Burgundian courts, often for dancing. A peculiarity of the Burgundian instrumental style is that the dukes preferred music for loud instruments ([[trumpet]]s, [[tambourin]]s, [[shawm]]s, [[bagpipe]]s) and more of this survives than for other current instruments such as the lute or the harp. In contemporary practice, the loud instruments would usually play from an elevated location, such as a balcony, while the other instruments would play closer to the dancers.<ref name="Wright, Grove"/>
Instrumental forms included the ''[[basse danse]]'', or ''bassadanza'', which was a ceremonial dance of a rather dignified character, and relatively slow tempo. Typically it was in a duple meter subdivided into threes (in modern notation, 6/8), and often the dance would be immediately followed by a quick dance, the ''[[tordion]]'' or ''pas de Brabant''.<ref>Gleason,
The Burgundian School was the first generation of what is sometimes known as the [[Dutch School (music)|Netherlands School]], several generations of composers spanning 150 years who composed in the [[polyphony|polyphonic]] style associated with the mainstream of Renaissance practice. Later generations, which were no longer specifically associated with either the court or the region Burgundy but were interlinked by adjacent geography and by common musical practice, included such names as [[Johannes Ockeghem]], [[Jacob Obrecht]], [[Josquin des Prez]], [[Adrian Willaert]] and [[Orlandus Lassus]].
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