the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

The Hail Mary or Ave Maria (from its first words in Latin), also known as the Angelic Salutation, is a traditional Catholic prayer addressing Mary, the mother of Jesus. The prayer is based on two biblical passages featured in the Gospel of Luke: the Angel Gabriel's visit to Mary (the Annunciation) and Mary's subsequent visit to Elizabeth, the mother of John the Baptist (the Visitation). It is also called the Angelical Salutation, as the prayer is based on the Archangel Gabriel's words to Mary. The Hail Mary is a prayer of praise for and of petition to Mary, regarded as the Theotokos (Mother of God). Since the 16th century, the version of the prayer used in the Catholic Church closes with an appeal for her intercession. The prayer takes different forms in various traditions and has often been set to music. In the Latin Church, the Hail Mary forms the basis of other prayers such as the Angelus and the Rosary. In the psalmody of the Oriental Orthodox Churches a daily Theotokion is devoted to ascribing praise to the Mother of God. In addition, the Eastern Orthodox Churches have a common private prayer quite similar to the Hail Mary, though without the explicit request for intercession. The Eastern Catholic Churches follow their respective traditions or adopt the Latin Church version, which is also used by many other Western groups historically branching from the Catholic Church, such as Lutherans, Anglicans, Independent Catholics, and Old Catholics.

"Ave Maria ... virgo serena" is a motet composed by Josquin des Prez. It is regarded as Josquin's most famous motet and one of the most famous pieces of the 15th century. The piece rose to extreme popularity in the 16th century, even appearing at the head of the first volume of motets ever printed. Its revolutionary open style featuring early imitative counterpoint and two-voice parts has added to its acclaim as one of the most influential compositions of its time.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Jean Mouton (c. 1459 – 30 October 1522) was a French composer of the Renaissance. He was famous both for his motets, which are among the most refined of the time, and for being the teacher of Adrian Willaert, one of the founders of the Venetian School.

The Gramophone Classical Music Awards, launched in 1977, are one of the most significant honours bestowed on recordings in the classical record industry. The British awards are often viewed as equivalent to or surpassing the American Grammy Awards, and referred to as the Oscars for classical music. They are widely regarded as the most influential and prestigious classical music awards in the world. According to Matthew Owen, national sales manager for Harmonia Mundi USA, "ultimately it is the classical award, especially worldwide." The winners are selected annually by critics for the Gramophone magazine and various members of the industry, including retailers, broadcasters, arts administrators, and musicians. Awards are usually presented in September each year in London.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Marbrianus de Orto (Dujardin; also Marbriano, Marbrianus; c. 1460 – January or February 1529) was a Dutch composer of the Renaissance (Franco-Flemish school). He was a contemporary, close associate, and possible friend of Josquin des Prez, and was one of the first composers to write a completely canonic setting of the Ordinary of the Mass.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

El Grillo (The Cricket) is a frottola attributed to Josquin des Prez.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Inviolata, integra et casta es Maria (You are inviolate, untouched, and chaste, Mary) is a motet by Josquin des Prez. One of his most famous compositions, it divides the cantus firmus into three sections and is scored for five voices—two carrying the canonical melody and three free.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Over 40 settings of the Ordinary of the Mass using the tune L'homme armé survive from the period between 1450 and the end of the 17th century, making the tune the most popular single source from the period on which to base an imitation mass. Some of the Missae L'homme armé are as follows: Probably dating from the 1450s: Missa L'homme armé (Antoine Busnois) Missa L'homme armé (Guillaume Dufay) Missa L'homme armé (Johannes Regis) (two: one lost) Missa L'homme armé (Johannes Ockeghem) Missa L'homme armé (Guillaume Faugues) (two) Probably written before 1475: Missa L'homme armé (Johannes Tinctoris) Missa L'homme armé (Firminus Caron) Missa L'homme armé (Cycle of six masses, from an anonymous manuscript from Naples) Probably written before 1500: Missa L'homme armé (Mathurin Forestier) Missa L'homme armé (Jacob Obrecht) Missa L'homme armé super voces musicales (Josquin des Prez) Missa L'homme armé sexti toni (Josquin des Prez) Missa L'homme armé (Loyset Compère) Missa L'homme armé (Bertrandus Vaqueras) Missa L'homme armé (Philippe Basiron) Missa L'homme armé (Antoine Brumel) Missa L'homme armé (Marbrianus de Orto) Written after 1500: Missa L'homme armé (Robert Carver) Missa L'homme armé (Matthaeus Pipelare) Missa L'homme armé (Pierre de la Rue) (two) Missa L'homme armé (Cristóbal Morales) (two) Missa L'homme armé (Francisco de Peñalosa) Missa L'homme armé (Andreas de Silva) Missa L'homme armé (Vitalis Venedier) Missa L'homme armé (Francisco Guerrero) (two) Missa L'homme armé (Ludwig Senfl) Missa L'homme armé (Palestrina) (two) Missa L'homme armé (Giacomo Carissimi)

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Mille regretz is a four-voice chanson from the 16th century whose attribution to Josquin des Prez is almost certainly erroneous. The song evidently draws some of its melodic material from Josquin's securely attributed five-voice Du mien amant. Mille regretz was a favourite of the Emperor Charles V and it is known in Spanish as La canción del Emperador. Apart from its plangent simplicity, musicians were presumably attracted by the royal connection: Spanish reworkings from the 16th-century include a mass setting by Cristóbal de Morales and variations for vihuela by Luis de Narváez and there is a chanson (SATTBB) by court composer Nicolas Gombert. Translations differ in their interpretation of the words 'fache/face amoureuse' in line 2 (variously "amorous anger" or "loving face").

Psalm 51, one of the penitential psalms, is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Hebrew Bible, this psalm is Psalm 50. In Latin, it is known as Miserere, (Ancient Greek: ἐλέησόν με ὁ θεός, romanized: eléēsón me ho Theós) in Ancient Greek: Ἥ Ἐλεήμων, romanized: Hḗ Eleḗmōn), especially in musical settings. The introduction in the text says that it was composed by David as a confession to God after he sinned with Bathsheba. The psalm forms a regular part of Jewish, Catholic, Eastern Orthodox, Oriental Orthodox, and Protestant liturgies.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

The Missa Pange lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1515, near the end of his life. Most likely his last mass, it is an extended fantasia on the Pange Lingua hymn, and is one of Josquin's most famous mass settings.

Antoine Brumel (French pronunciation: [ɑ̃twan bʁymɛl]; c. 1460 – 1512 or 1513) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Absalom (Hebrew: אַבְשָׁלוֹם‎, romanized: ʾAḇšālōm, lit. 'Father of Peace'), according to the Hebrew Bible, was an Israelite prince. Born to David and Maacah, who was from Geshur, he was the only full sibling of Tamar. He is described in the Hebrew Bible as being exceptionally beautiful, as is his sister. In the narrative of 2 Samuel 13, his sister Tamar takes refuge at his house after she is raped by their paternal half-brother Amnon (born to David and Ahinoam, who was from Jezreel); David is angered by the incident, but does nothing, as Amnon is his heir apparent. Infuriated by the rape and David's inaction, Absalom assassinates Amnon and subsequently flees to Geshur, which is ruled by his and Tamar's maternal grandfather Talmai. Following three years in exile, he returns to Israel and rallies popular support against the House of David. A war ensues when Absalom's rebels mobilize at Hebron and begin fighting David's army in an attempt to overthrow him, but their revolt ends in failure when Absalom is killed by David's nephew and army commander Joab during the Battle of the Wood of Ephraim. In the aftermath of his death, Absalom's sister is described as being left "a desolate woman in her brother's house" and the sole guardian of his orphaned daughter, who is also named Tamar.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

This is a list of compositions by Giovanni Pierluigi da Palestrina, sorted by genre. The volume (given in parentheses for motets) refers to the volume of the Breitkopf & Härtel complete edition in which the work can be found. Six of the volumes of masses and some of his motets and other works were published in these editions during Palestrina's lifetime. Others were collected later, from papal choirbooks and other sources. The dates of most pieces are unknown, unless they were known to have been composed in connection with some celebration. Of those works published during Palestrina's lifetime, many were composed considerably earlier than their date of publication, and of the others a large number remained unpublished until the 19th century. The 32 volumes of Palestrina's collected works were published by Breitkopf & Härtel between 1862 and 1907. The volumes of the masses maintain the order of works in the previously published volumes (with the Collected Works Vol. 10 corresponding to the first book of Masses, and so on.) Some of the pieces in the last three volumes, 30–32, are considered spurious or doubtful.

The Stabat Mater is a 13th-century Christian hymn to the Virgin Mary that portrays her suffering as mother during the crucifixion of her son Jesus Christ. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, "Stabat Mater dolorosa", which means "the sorrowful mother was standing". The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers.

This article presents a complete list of compositions by American composer Morton Feldman, organized by instrumentation. There are about 184 compositions in total. Within each category, the works are arranged chronologically by year of composition. Note that works for piano solo (or, for example, cello solo) are in the solo instrumental category, however, works for 2 or more pianos (2 or more cellos, etc.) are in the chamber category. Many pieces by Feldman are titled after the instruments used: for example, Two Pieces for Clarinet and String Quartet is scored precisely for clarinet and string quartet. In cases like this, instrumentation is not given separately. Works with titles in square brackets are unpublished works, left untitled by the composer; these are commonly referred to using the generic title "Composition" (with the exception of a few early works).

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.