Hayne’s output was limited to about twenty chansons — remarkably all Rondeaus, one of the three dansant Burgundian “formes fixes”, based on the Roundabout — of which some were printed by Petrucci in the earliest volumes of published music. Van Ghizeghem’s “De tous biens plaine” was possibly the most famous chanson of its age; its tenor was used as a cantus firmus for motets (such as the tenor part of “Omnium bonorum plena”, the “prayer for the singers” by Loyset Compère, with a symbolical correlation: the matching first words in French viz. Latin transfer the “plenity of good” onto the Virgin Mary), (parody), Masses and chanson elaborations by many composers, including several instrumental versions by Alexander Agricola.
This composer belongs to the second generation (championed by Ockeghem) of the Flemish Polyphony. His name links either him or his ancestors to Gijzegem, a former municipality now part of Aalst (Alost) city, then in “imperial Flanders”, the small eastermost part of the Flemish countship — ruled by the Burgundian dynasty — over which the French crown didn’t claim the soverainty. In 1457 he was studying with Constans d’Utrecht at the ducal court of Burgundy, where he became a singer ranking as “valet de chambre” (chamber servant) in 1467. He also joined the Burgundian army under duke Charles the Bold; the last reference to him occurs in 1472. Hayne was highly respected by his contemporaries, despite his small output.
This contribution is mainly based on KULeuven’s musicology professor Ignace Bossuyt’s book “De Vlaamse Polyfonie” and the HOASM site linking below.