This article explores two often poorly connected fields in a quite touchy symbolic conception. On one side is the complex ramification of the County of Savoy and its family therein at a period when Savoy become a Duchy under the protection of the German Holy Empire with the patronage of Saint Maurice, while on the other side is the complex and prolific secular compositions of Guillaume Dufay and its subtle style of performance. In many cases, little is known by Historians about medieval music. Therefore, Musicologists interested in metrics and comparison between manuscripts could easily obliterate the subtle diplomacy of the patrons of this period. To complicate even more, Savoy historians are in France and Italy (with most documents in Latin and French), and Dufay specialists are mainly in England and the United States. This essay also evocates a medieval Black saint, Maurice, considered a positive symbol, an idea not so evident in Savoy nowadays but probably also shortly after in the Protestant Alps, a period when visual representation could be easily destroyed. Hence this study enquires into this controversial subject and finds interesting new materials connected with music. This could be anecdotal if these pieces were not already so well-known and influential in the History of music.

African related pieces in the organ Repertoire is a question not often challenged even if few scholarly studies exist; most of them concerning Afro-American composers. Practically, this means that in order to schedule a concert, “usual” organists will not give many names and these names won’t be the same in New-York, Lagos or Paris, where the “reputation” of Jean-Louis Florentz, for instance did not go as far as the landscapes he used to dream. Because of a specific project (Myrelingues, born in Lyon, but involving international partners); this question of Organ Repertoire became a pragmatic issue, including the opportunity of commissioning new works. This article gathers information from various sources related to the expanse of this field. In connection with this experience, Africa is considered a very large connecting topic including non-African composers. In addition, it also opens questions of inter-textuality, the importance of figures and consequences of dialog between musical works during the process of a kind of “birth” of such a Repertoire.