While it remains late medieval in style, his writing increasingly points toward the melodic patterning of the Renaissance, for instance in his setting of "O rosa bella". He wrote music both secular (French virelais, Italian ballate and madrigals) and sacred (motets and Mass movements, some of them isorhythmic) in form. He is also the author of two treatises on music, "Nova Musica" and "De Proportionibus" (which expands on some ideas in "Nova Musica"). His theoretical ideas stem from the more conservative Marchettian tradition in contrast to those of his Paduan contemporary Prosdocimus de Beldemandis. Although contrafacts and later manuscript sources of his compositions suggest that he was well known in Florence, his music is scarcely represented in major Florentine sources of the period; for instance, the Squarcialupi Codex contains nothing by Ciconia. But on the other hand, many of his motets and Mass movements are included in the manuscript known as “Bologna MS Museo Internazionale e Biblioteca della Musica Q15”.