For a list of Tinctoris's musical works and their sources, see DIAMM. For the online project Johannes Tinctoris. The Complete Theoretical Works (in progress), ed. by Ronald Woodley (Principal Investigator), Jeffrey J. Dean (Senior Researcher) and David Lewis (Researcher), see the following link: https://earlymusictheory.org/Tinctoris/texts/Project/team.html
Tinctoris's list of works and sources in the present database is still incomplete.
1469-1479 Aragonese Court of Naples, singer, composer, scribe
According to Atlas (2001), p. 648: "By August 1469 he [Vincenet] was at the Aragonese court of Naples, where a payroll notice dated 14 August reads: 'To Vinxenet de Enaut, singer of the chapel of His Majesty the King [Ferrante I] viii ducats, for writing and notating viii polyphonic offices for the said chapel, which offices he has delivered to Mossen Pere Brusca [the king's maestro du cappella].' Thus Vincenet was a singer and at least a part-time scribe at the Neapolitan court.... Eight works are attributed to Vincenet, four masses and four secular songs, all stylistically typical of his time.... All four secular works appear in the Mellon chansonnier (US-NH 91), compiled at Naples in the mid-1470s when Vincenet was presumably there. Fortune, par ta cruaulte and Ou doy je secours querir are French rondeaux; the former was Vincenet's most widely disseminated work, and was included in Petrucci's Odhecaton (1501). La pena sin ser sabida is a Spanish canción, a genre perfectly at home at Aragonese Naples. Triste que sperò morendo is problematic...".