Richard Loqueville was a part of a long succession of outstanding musicians who served as master of the choristers at the cathedral of Cambrai during its most glorious years. Loqueville, also an accomplished harpist, was likely known in his own day as a composer; a dozen works by him survive in various Italian manuscripts. Presumably before 1410 Loqueville took a wife, for in that year he began service at the Duke of Bar's chapel. By that time he must already have secured an excellent reputation, for barely three years later he was called to Cambrai, beginning his service there in 1413. Cambrai at the time was possibly the apotheosis of musical institutions in Christendom; anyone appointed there, as student or as teacher, would have been held in exceptionally high regard. So the young, low-born Guillaume Dufay who joined the school in 1409, must've somehow demonstrated exceptional talent. He had not, like his peers there, been bred up for the role of chorister. Loqueville's arrival only a few years later was for him exceptionally serendipitous; he is now generally considered Dufay's first composition teacher, which is his most glorious credential, and the reason he is remembered. Although Dufay's mature style has little to do with Loqueville's, there are a few unusual features that may have been imparted directly to the younger composer. In Loqueville's single surviving isorhythmic motet, for example, the tenor is repeated in retrograde, and the two main sections, of almost equal length, are differentiated by a change from what now would be transcribed as 6/8 to what would now be called 3/4. That structure is used by Dufay in the motet Rite majorem. Loqueville also uses in his chansons a technique of voice-crossing in which the discantus reaches far down enough to become temporarily the lowest voice, a feature that became common in Dufay's music during the 1430s. One chanson of Dufay's in particular, Adieu ces bons vins de Lannoys, is stylistically quite close to one of Loqueville's, Puisque je suy amoureux. Adieu ces bons vins de Lannoys is so unusual among Dufay's works that the similarity is often taken as the best evidence of Loqueville's influence. If so, together they suggest that Loqueville's lost music was carefully crafted and beautiful, notable most of all for a poetic economy of melody. He died at Cambrai in 1418, after a fine career.