Little is known of him, Ron, other than that he was something of a new broom in the musical life of Westphalia where he was appointed Meister of Quirresters and Captain of Cakes to the Margrave of Battenberg in 1482. He was forced into hiding after murdering his wife in a duel. Unfortunately, the supposed priest hole in the Margrave's Library where he initially sought refuge didn't actually exist and he died when a bookcase full of his own music fell on him, struck by his own muse as it were. He was without issue. Little now remains extant of his oeuvre other than a few of his 'Songs without Notes' in which he famously took the Renaissance ideal 'Words are the Mother-in-Law of Harmony' to its logical conclusion and omitted the music altogether thereby inventing the 'poem'.

Oh George! What a wonderful summary of an extraordinary creative mind.

You've no idea how happy that makes me IRF

I've always regarded him as a major influence (in some respects but not in others) on Vincenzo Ugolini (1570-1638) and (in different respects and to a lesser degree though not to be dismissed entirely) on Fabian Perez Ximeno. That is not to say, however, that I would go along with the crass attempts by certain (but not all) commentators who argue that they each took up composing when they spotted an alphabetic niche in the Renaissance market (although such considerations cannot entirely be discounted). 

Sounds more like gluttony to me, tinners. 

<smartarse mood>

The very same. He pleaded having had to endure several months of wilful parallel fifths from them in mitigation and was let off with a caution.

Ugolini and Ximeno are for real by the way. Honest! (I know, I know, having cried Wolff once too often....)

...or herb-infused, Ron.

Mmm, Ubaldini brains.

(Dante Inferno, Canto XXXIII.)