You are on page 1of 13

Josquin des Prez

manuscript evidence. Yet in spite of Josquins colossal reputation, which endured until the beginning of the
Baroque era and was revived in the 20th century, his biography is shadowy, and next to nothing is known about
his personality. The only surviving work which may be
in his own hand is a grato on the wall of the Sistine
Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara.
The lives of dozens of minor composers of the Renaissance are better documented than the life of Josquin.[7]
Josquin wrote both sacred and secular music, and in all of
the signicant vocal forms of the age, including masses,
motets, chansons and frottole. During the 16th century,
he was praised for both his supreme melodic gift and
his use of ingenious technical devices. In modern times,
scholars have attempted to ascertain the basic details of
his biography, and have tried to dene the key characteristics of his style to correct misattributions, a task that has
proved dicult, as Josquin liked to solve compositional
problems in dierent ways in successive compositions
sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity.[8] Heinrich Glarean wrote in
1547 that Josquin was not only a magnicent virtuoso
(the Latin can be translated also as show-o) but capable of being a mocker, using satire eectively.[9] While
the focus of scholarship in recent years has been to remove music from the Josquin canon (including some of
his most famous pieces) and to reattribute it to his contemporaries, the remaining music represents some of the
most famous and enduring of the Renaissance.[10]

1611 woodcut of Josquin des Prez, copied from a now-lost oil


painting done during his lifetime[1]

Josquin des Prez (French: [sk depe]; c. 1450/1455


27 August 1521), often referred to simply as Josquin,
was a Franco-Flemish composer of the Renaissance. His
original name is sometimes given as Josquin Lebloitte
and his later name is given under a wide variety of
spellings in French, Italian, and Latin, including Josquinus Pratensis and Jodocus a Prato. His motet Illibata
Dei virgo nutrix includes an acrostic of his name, where
he spelled it Josquin des Prez.[2][3] He was the most famous European composer between Guillaume Dufay and
Palestrina, and is usually considered to be the central gure of the Franco-Flemish School. Josquin is widely considered by music scholars to be the rst master of the 1 Life
high Renaissance style of polyphonic vocal music that was
emerging during his lifetime.
1.1 Birth and early career
During the 16th century, Josquin gradually acquired the
reputation as the greatest composer of the age, his mas- Little is known for certain of Josquins early life. Much is
tery of technique and expression universally imitated and inferential and speculative, though numerous clues have
admired. Writers as diverse as Baldassare Castiglione emerged from his works and the writings of contempoand Martin Luther wrote about his reputation and fame; rary composers, theorists, and writers of the next sevtheorists such as Heinrich Glarean and Gioseo Zarlino eral generations. Josquin was born in the area controlled
held his style as that best representing perfection.[4] He by the Dukes of Burgundy, and was possibly born either
was so admired that many anonymous compositions were in Hainaut (modern-day Belgium), or immediately across
attributed to him by copyists, probably to increase their the border in modern-day France, since several times in
sales.[5] More than 370 works are attributed to him;[6] his life he was classied legally as a Frenchman (for init was only after the advent of modern analytical schol- stance, when he made his will). Josquin was long misarship that some of these mistaken attributions have taken for a man with a similar name, Josquin de Kessalia,
been challenged, on the basis of stylistic features and born around the year 1440, who sang in Milan from 1459
1

LIFE

to 1474, dying in 1498. More recent scholarship has


shown that Josquin des Prez was born around 1450 or
a few years later, and did not go to Italy until the early
1480s.

composed for Ercole d'Este, but which stylistically does


not t with the usual date of 15034 when Josquin was
known to be in Ferrara. Alternatively it has been suggested that Josquin spent some of that time in Hungary,
Around 1466, perhaps on the death of his father, Josquin based on a mid-16th-century Roman document describand including
was named by his uncle and aunt, Gille Lebloitte dit De- ing the Hungarian court in those years,
[14]
Josquin
as
one
of
the
musicians
present.
sprez and Jacque Banestonne, as their heir. Their will
gives Josquins actual surname as Lebloitte. According to In either 1483 or 1484 Josquin is known to have been in
Matthews and Merkley, des Prez was a nickname.[11]
the service of the Sforza family in Milan. While in their
According to an account by Claude Hmer, a friend and employ, he made one or more trips to Rome, and possibly
librarian of Cardinal Richelieu whose evidence dates as also to Paris; while in Milan he made the acquaintance of
late as 1633, and who used the records of the collegiate Franchinus Gaurius, who was maestro di cappella of the
church of Saint-Quentin,[12] Josquin became a choirboy cathedral there. He was in Milan again in 1489, after a
with his friend and colleague the Franco Flemish com- possible period of travel; but he left that year.
poser Jean Mouton at Saint-Quentins royal church, probably around 1460. Doubt has been cast on the accuracy
of Hmer's account, however.[13] He may have studied
counterpoint under Ockeghem, whom he greatly admired
throughout his life: this is suggested both by the testimony of Gioseo Zarlino and Lodovico Zacconi, writing later in the 16th century, and by Josquins eloquent
lament on the death of Ockeghem in 1497, Nymphes des
bois/Requiem aeternam, based on the poem by Jean Molinet.[13] All records from Saint-Quentin were destroyed
in 1669; however the collegiate chapel there was a center
of music-making for the entire area, and in addition was
an important center of royal patronage. Both Jean Mouton and Loyset Compre were buried there and it is certainly possible that Josquin acquired his later connections
with the French royal chapel through early experiences at
Saint-Quentin.
The rst denite record of his employment is dated 19
April 1477, and it shows that he was a singer at the chapel
of Ren, Duke of Anjou, in Aix-en-Provence. He remained there at least until 1478. No certain records of
his movements exist for the period from March 1478 until
1483, but if he remained in the employ of Ren he would
have transferred to Paris in 1481 along with the rest of
the chapel. One of Josquins early motets, Misericordias
Domini in aeternum cantabo, suggests a direct connection
with Louis XI, who was king during this time. In 1483
Josquin returned to Cond to claim his inheritance from
his aunt and uncle, who may have been killed by the army
of Louis XI in May 1478, when they besieged the town,
locked the population into the church, and burned them
alive.[14]

1.2

Milan

The period of 1480 to 1482 has puzzled biographers:


some contradictory evidence exists, suggesting either that
Josquin was still in France, or was already in the service of
the Sforza family, specically with Ascanio Sforza, who
had been banished from Milan and resided temporarily
in Ferrara or Naples. Residence in Ferrara in the early
1480s could explain the Missa Hercules dux Ferrariae,

1.3 Rome
From 1489 to 1495 Josquin was a member of the papal choir, rst under Pope Innocent VIII, and later under
the Borgia pope Alexander VI. He may have gone there
as part of a singer exchange with Gaspar van Weerbeke,
who went back to Milan at the same time. While there,
he may have been the one who carved his name into the
wall of the Sistine Chapel; a JOSQUINJ was recently
revealed by workers restoring the chapel. Since it was
traditional for singers to carve their names into the walls,
and hundreds of names were inscribed there during the
period from the 15th to the 18th centuries, it is considered highly likely that the grati is by Josquin and if
so, it would be his only surviving autograph.[15][16]
Josquins mature style evolved during this period; as in
Milan he had absorbed the inuence of light Italian secular music, in Rome he rened his techniques of sacred
music. Several of his motets have been dated to the years
he spent at the papal chapel.

1.4 Departure from Rome; Milan and


France
Around 1498 Josquin most likely re-entered the service
of the Sforza family, on the evidence of a pair of letters
between the Gonzaga and Sforza families.[14] He probably did not stay in Milan long, for in 1499 Louis XII
captured Milan in his invasion of northern Italy and imprisoned Josquins former employers. Around this time
Josquin most likely returned to France, although documented details of his career around the turn of the 16th
century are lacking. Prior to departing Italy he most likely
wrote one of his most famous secular compositions, the
frottola El grillo (the Cricket), as well as In te Domine
speravi (I have placed my hope in you, Lord), based on
Psalm 30. The latter composition may have been a veiled
reference to the religious reformer Girolamo Savonarola,
who had been burned at the stake in Florence in 1498,
and for whom Josquin seems to have had a special reverence; the text was the Dominican friars favorite psalm, a

1.6

Retirement to Cond-sur-l'Escaut

meditation on which he left incomplete in prison prior to widely distributed motets of the 16th century; the utterly
his execution.[17]
contrasting, virtuoso motet Virgo salutiferi;[21] and posSome of Josquins compositions, such as the instrumen- sibly the Missa Hercules Dux Ferrariae, which is written
tal Vive le roy, have been tentatively dated to the period on a cantus rmus derived from the musical letters in the
around 1500 when he was in France. A motet, Memor Dukes name, a technique known as soggetto cavato.
esto verbi tui servo tuo (Remember thy promise unto thy
servant), was, according to Heinrich Glarean writing in
the Dodecachordon of 1547, composed as a gentle reminder to the king to keep his promise of a benece to
Josquin, which he had forgotten to keep. According to
Glareans story, it worked: the court applauded, and the
king gave Josquin his benece. Upon receiving it, Josquin
reportedly wrote a motet on the text Benefecisti servo tuo,
Domine (Lord, thou hast dealt graciously with thy servant) to show his gratitude to the king.[18]

Josquin did not stay in Ferrara long. An outbreak of the


plague in the summer of 1503 prompted the evacuation
of the Duke and his family, as well as two-thirds of the
citizens, and Josquin left by April of the next year, possibly also to escape the plague. His replacement, Jacob
Obrecht, died of the plague in the summer of 1505,[14] to
be replaced by Antoine Brumel in 1506, who stayed until
the disbanding of the chapel in 1510.

1.5

Josquin went directly from Ferrara to his home region of


Cond-sur-l'Escaut, southeast of Lille on the present-day
border between Belgium and France, becoming provost
of the collegiate church of Notre-Dame on 3 May 1504, a
large musical establishment that he headed for the rest of
his life.[22] While the chapter at Bourges Cathedral asked
him to become master of the choirboys there in 1508, it
is not known how he responded, and there is no record of
his having been employed there; most scholars presume
he remained in Cond.[23] In 1509, he held concurrently
provost and choir master oces at Saint Quentin collegiate church.

Ferrara

1.6 Retirement to Cond-sur-l'Escaut

During the last two decades of his life, Josquins fame


spread abroad along with his music. The newly developed technology of printing made wide dissemination
of his music possible, and Josquin was the favorite of
the rst printers: one of Petrucci's rst publications, and
the earliest surviving print of music by a single composer, was a book of Josquins masses which he printed in
Venice in 1502. This publication was successful enough
that Petrucci published two further volumes of Josquins
masses, in 1504 and 1514, and reissued them several
times.[24]
Ercole I d'Este was an important patron of the arts during the Italian Renaissance; he was Josquins employer in 1503 and 1504.

Josquin probably remained in the service of Louis XII


until 1503, when Duke Ercole I of Ferrara hired him
for the chapel there.[19] One of the rare mentions of
Josquins personality survives from this time. Prior to
hiring Josquin, one of Duke Ercoles assistants recommended that he hire Heinrich Isaac instead, since Isaac
was easier to get along with, more companionable, was
more willing to compose on demand, and would cost signicantly less (120 ducats vs. 200). Ercole, however,
chose Josquin.[14]

On his death-bed Josquin asked that he be listed on the


rolls as a foreigner, so that his property would not pass to
the Lords and Ladies of Cond.[22] This bit of evidence
has been used to show that he was French by birth. Additionally, he left an endowment for the performance of his
late motet, Pater noster, at all general processions in the
town when they passed in front of his house, stopping to
place a wafer on the marketplace altar to the Holy Virgin.
Pater noster may have been his last work.[25]

2 Music
2.1 Overview

While in Ferrara, Josquin wrote some of his most famous compositions, including the austere, Savonarola- Josquin lived during a transitional stage in music history.
inuenced Miserere,[20] which became one of the most Musical styles were changing rapidly, in part owing to

the movement of musicians between dierent regions of 2.2


Europe.[26] Many northern musicians moved to Italy, the
heart of the Renaissance, attracted by the Italian nobilitys patronage of the arts; while in Italy, these composers
were inuenced by the native Italian styles, and often
brought those ideas with them back to their homelands.
The sinuous musical lines of the Ockeghem generation,
the contrapuntal complexity of the Netherlanders, and the
homophonic textures of the Italian lauda and secular music began to merge into a unied style; indeed Josquin
was to be the leading gure in this musical process, which
eventually resulted in the formation of an international
musical language, of which the most famous composers
included Palestrina and Lassus.[27]
Josquin likely learned his craft in his home region in the
North, in France, and then in Italy when he went to Milan
and Rome. His early sacred works emulate the contrapuntal complexity and ornamented, melismatic lines of
Ockeghem and his contemporaries, but at the same time
he was learning his contrapuntal technique he was acquiring an Italianate idiom for his secular music: after all, he
was surrounded by Italian popular music in Milan. By the
end of his long creative career, which spanned approximately 50 productive years, he had developed a simplied
style in which each voice of a polyphonic composition exhibited free and smooth motion, and close attention was
paid to clear setting of text as well as clear alignment of
text with musical motifs. While other composers were inuential on the development of Josquins style, especially
in the late 15th century, he himself became the most inuential composer in Europe, especially after the development of music printing, which was concurrent with the
years of his maturity and peak output. This event made
his inuence even more decisive than it might otherwise
have been.
Many modern musical compositional practices were
being born in the era around 1500. Josquin made extensive use of motivic cells in his compositions, short,
easily recognizable melodic fragments which passed from
voice to voice in a contrapuntal texture, giving it an inner unity. This is a basic organizational principle in music which has been practiced continuously from approximately 1500 until the present day.[28]
Josquin wrote in all of the important forms current at the
time, including masses, motets, chansons, and frottole.
He even contributed to the development of a new form,
the motet-chanson, of which he left at least three examples. In addition, some of his pieces were probably intended for instrumental performance.

MUSIC

Masses

Manuscript showing the opening Kyrie of the Missa de Beata Virgine, a late work. Rome, Biblioteca Apostolica Vaticana, Capp.
Sist. 45, . 1v-2r.

Josquin wrote towards the end of the period in which the


mass was the predominant form of sacred composition in
Europe. The mass, as it had developed through the 15th
century, was a long, multi-section form, with opportunities for large-scale structure and organization not possible
in the other forms such as the motet. Josquin wrote some
of the most famous examples of the genre, most using
some kind of cyclic organization.
He wrote masses using the following general techniques,
although there is considerable overlap between techniques
in individual compositions:
cantus rmus mass, in which a pre-existing tune appeared, mostly unchanged, in one voice of the texture, with the other voices being more or less freely
composed;
paraphrase mass, in which a pre-existing tune was
used freely in all voices, and in many variations;
parody mass, in which a pre-existing multi-voice
song appeared in whole or in part, with material
from all voices in use, not just the tune;
soggetto cavato, or solmization mass, in which the
tune is drawn from the syllables of a name or phrase
(for example la sol fa re miA, G, F, D, E
based on the syllables of Lascia fare mi (leave me
alone, a phrase used by an unknown patron, in a
context around which much legend has arisen).
canon, in which an entire mass is based on canonic
techniques, and no pre-existing material has been
identied.[29]

Each area of his output can be further subdivided by form


or by hypothetical period of composition. Since dating
Josquins compositions is particularly problematic, with Most of these techniques, particularly paraphrase and
scholarly consensus only achieved on a minority of works, parody, became standardized during the rst half of the
16th century; Josquin was very much a pioneer, and what
discussion here is by type.
was perceived by later observers as the mixing of these
techniques was actually the process by which they were
created.[27]

2.2
2.2.1

Masses

Cantus-rmus masses

and the tune appears in the topmost voice; here the portion which would normally set Sing, O my tongue, of the
Prior to Josquins mature period, the most common tech- mystery of the divine body is instead given the words
nique for writing masses was the cantus rmus, a tech- And he became incarnate by the Holy Ghost from the
nique which had been in use already for most of the 15th Virgin Mary, and was made man.[37]
century. It was the technique that Josquin used earliest in
his career, with the Missa L'ami Baudichon, possibly his
rst mass.[27] This mass is based on a secular indeed 2.2.3 Parody masses, masses on popular songs
ribald tune similar to Three Blind Mice. That basing a mass on such a source was an accepted procedure is In parody masses, the source material was not a single
evident from the existence of the mass in Sistine Chapel line, but an entire texture, often of a popular song. Sevpart-books copied during the papacy of Julius II (1503 to eral works by Josquin fall loosely into this category, including the Missa Fortuna desperata, based on the three1513).[30]
voice song Fortuna desperata (possibly by Antoine BusJosquins most famous cantus-rmus masses are the two nois); the Missa Malheur me bat (based on a chanbased on the L'homme arm tune, which was the favorite son variously ascribed to Obrecht, Ockeghem, or, most
tune for mass composition of the entire Renaissance. The likely, Abertijne Malcourt);[27] and the Missa Mater Paearlier of the two, Missa L'homme arm super voces mu- tris, based on a three-voice motet by Antoine Brumel.
sicales, is a technical tour-de-force on the tune, contain- The Missa Mater Patris is probably the rst true parody
ing numerous mensuration canons and contrapuntal dis- mass to be composed, for it no longer contains any hint of
play. It was by far the most famous of all his masses.[31] a cantus rmus.[38] Parody technique was to become the
The second, Missa L'homme arm sexti toni, is a fan- most usual means of mass composition for the remainder
tasia on the theme of the armed man.[32] While based of the 16th century, although the mass gradually fell out
on a cantus rmus, it is also a paraphrase mass, for frag- of favor as the motet grew in esteem.
ments of the tune appear in all voices. Technically it is
almost restrained, compared to the other L'homme arm
mass, until the closing Agnus Dei, which contains a com- 2.2.4 Masses on solmization syllables
plex canonic structure including a rare retrograde canon,
around which other voices are woven.[33]
The earliest known mass by any composer using this
method of composition the soggetto cavato is the
Missa Hercules Dux Ferrariae, which Josquin probably
2.2.2 Paraphrase masses
wrote in the early 1480s for the powerful Ercole I, Duke
of Ferrara. The notes of the cantus rmus are drawn from
The paraphrase technique diers from the cantus-rmus the musical syllables of the Dukes name in the followtechnique in that the source material, though it still con- ing way: Ercole, Duke of Ferrara in Latin is Hercules
sists of a monophonic original, is embellished, often with Dux Ferrarie. Taking the solmization syllables with the
ornaments. As in the cantus-rmus technique, the source same vowels gives: ReUtReUtReFaMiRe[39] (in
modern nomenclature: DCDCDFED). Another
tune may appear in many voices of the mass.
mass using this technique is the Missa La sol fa re mi,
Several of Josquins masses feature the paraphrase techbased on the musical syllables contained in Lascia fare
nique, and they include some of his most famous work.
mi (leave me alone!"). The story, as told by Glareanus
The relatively early Missa Ave maris stella, which probain 1547, was that an unknown aristocrat used to order
bly dates from his years in the Sistine Chapel choir, parasuitors away with this phrase, and Josquin immediately
phrases the Marian antiphon of the same name; it is also
wrote an exceedingly elegant mass on it as a jab at
[34]
The late Missa de Beata
one of his shortest masses.
him.[40]
Virgine paraphrases plainchants in praise of the Virgin
Mary; it is a Lady Mass, a votive mass for Saturday performance, and was his most popular mass in the 16th 2.2.5 Canonic masses
century.[27][35]
By far the most famous of Josquins masses using the
technique, and one of the most famous mass settings
of the entire era, was the Missa pange lingua, based on
the hymn by Thomas Aquinas for the Vespers of Corpus Christi. It was probably the last mass that Josquin
composed.[36] This mass is an extended fantasia on the
tune, using the melody in all voices and in all parts of the
mass, in elaborate and ever-changing polyphony. One of
the high points of the mass is the et incarnatus est section
of the Credo, where the texture becomes homophonic,

Canonic masses came into increasing prominence in the


latter part of the 15th century. Early examples include
Ockeghems famous Missa prolationum, consisting entirely of mensuration canons, the Missa L'homme arm of
Guillaume Faugues, whose cantus rmus is presented in
canon at the descending fth, and the Missa [Ad fugam]
of Marbrianus de Orto, based on freely composed canons
at the fth between superius and tenor. Josquin makes
use of canon in the Osanna and Agnus Dei III of the
Missa L'homme arm sexti toni, throughout the Missa Sine

MUSIC

Opening of the Agnus Dei II from the Missa L'homme arm super voces musicales. Play The movement consists of a threeout-of-one mensuration canon. The middle voice is the slowest;
the lowest voice sings at twice the speed of the middle voice, and
the top voice at three times the speed. The rst four notes of the
canon are shown connected by lines of the same color. (The rst
eight notes of the canon are a quotation of the contratenor of
Ockeghem's Ma bouche rit.)
A passage from the psalm motet Domine ne in furore (Ps. 37).

nomine, and in the nal three movements of the Missa Three variants of a motive built on a major triad are introduced,
De beata virgine. The Missa L'homme arm super voces each in paired imitation between two voices. Play
musicales incorporates mensuration canons in the Kyrie,
Benedictus, and Agnus Dei II.[41]
In writing polyphonic settings of psalms, Josquin was a
pioneer, and psalm settings form a large proportion of
the motets of his later years. Few composers prior to
2.3 Motets
Josquin had written polyphonic psalm settings.[46] Some
of Josquins settings include the famous Miserere, writJosquins motet style varied from almost strictly homoten in Ferrara in 1503 or 1504 and most likely inspired
phonic settings with block chords and syllabic text declaby the recent execution of the reformist monk Girolamo
mation to highly ornate contrapuntal fantasias, to the
Savonarola,[47] Memor esto verbi tui, based on Psalm 119,
psalm settings which combined these extremes with the
and two settings of De profundis (Psalm 130), both of
addition of rhetorical gures and text-painting that forewhich are often considered to be among his most signifshadowed the later development of the madrigal. He
icant accomplishments.[45][48]
wrote many of his motets for four voices, an ensemble
size which had become the compositional norm around
1500, and he also was a considerable innovator in writing
motets for ve and six voices.[42] No motets of more than 2.4 Chansons and instrumental compositions
six voices have been reliably attributed to Josquin.
Almost all of Josquins motets use some kind of compositional constraint on the process; they are not freely
composed.[43] Some of them use a cantus rmus as a unifying device; some are canonic; some use a motto which
repeats throughout; some use several of these methods.
The motets that use canon can be roughly divided into
two groups: those in which the canon is plainly designed
to be heard and appreciated as such, and another group in
which a canon is present, but almost impossible to hear,
and seemingly written to be appreciated by the eye, and
by connoisseurs.[44]

El grillo redirects here. For the Guatemalan football


coach, see Jorge Roldn.
In the domain of secular music, Josquin left numerous
French chansons, for from three to six voices, as well as a
handful of Italian secular songs known as frottole, as well
as some pieces which were probably intended for instrumental performance. Problems of attribution are even
more acute with the chansons than they are with other
portions of his output: while about 70 three and fourvoice chansons were published under his name during his
lifetime, only six of the more than thirty ve- and sixvoice chansons attributed to him were circulated under
his name during the same time. Many of the attributions
added after his death are considered to be unreliable, and
much work has been done in the last decades of the 20th
century to correct attributions on stylistic grounds.[49]

Josquin frequently used imitation, especially paired imitation, in writing his motets, with sections akin to fugal expositions occurring on successive lines of the text
he was setting. An example is his setting of Dominus
regnavit (Psalm 93), for four voices; each of the lines
of the psalm begins with a voice singing a new tune
alone, quickly followed by entries of other three voices
Josquins earliest chansons were probably composed in
in imitation.[45]

7
northern Europe, under the inuence of composers such
as Ockeghem and Busnois. Unlike them, however, he
never adhered strictly to the conventions of the formes
xes the rigid and complex repetition patterns of the
rondeau, virelai, and ballade instead he often wrote his
early chansons in strict imitation, a feature they shared
with many of his sacred works.[27] He was one of the
rst composers of chansons to make all voices equal parts
of the texture; and many of his chansons contain points
of imitation, in the manner of motets. However he did
use melodic repetition, especially where the lines of text
rhymed, and many of his chansons had a lighter texture,
as well as a faster tempo, than his motets.
Inside of his chansons, he often used a cantus rmus,
sometimes a popular song whose origin can no longer be
traced, as in Si j'avoye Marion.[50] Other times he used
a tune originally associated with a separate text; and still
other times he freely composed an entire song, using no
apparent external source material. Another technique he
sometimes used was to take a popular song and write it
as a canon with itself, in two inner voices, and write new
melodic material above and around it, to a new text: he
used this technique in one of his most famous chansons,
Faulte d'argent (The problem with money), a song sung
by a man who wakes in bed with a prostitute, broke and
unable to pay her.
Some of his chansons were doubtless designed to be performed instrumentally. That Petrucci published many of
them without text is strong evidence of this; additionally,
some of the pieces (for example, the fanfare-like Vive le
roy) contain writing more idiomatic for instruments than
voices.[27]
Josquins most famous chansons circulated widely in Europe. Some of the better known include his lament on
the death of Ockeghem, Nymphes des bois/Requiem aeternam; Mille regretz (the attribution of which has recently
been questioned);[51] Plus nulz regretz; and Je me complains.
In addition to his French chansons, he wrote at least three
pieces in the manner of the Italian frottola, a popular Italian song form which he would have encountered during
his years in Milan. These songs include Scaramella, El
grillo, and In te domine speravi. They are even simpler
in texture than his French chansons, being almost uniformly syllabic and homophonic, and they remain among
the most frequently sung portions of his output.

2.5

Motet-chansons

While in Milan, Josquin wrote several examples of a


new type of piece developed by the composers there, the
motet-chanson. These compositions were texturally very
similar to 15th century chansons in the formes xes mold,
except that unlike those completely secular works, they
contained a chant-derived Latin cantus-rmus in the lowest of the three voices. The other voices, in French, sang

a secular text which had either a symbolic relationship to


the sacred Latin text, or commented on it.[52] Josquins
three known motet-chansons, Que vous madame/In pace,
A la mort/Monstra te esse matrem, and Fortune destrange
plummaige/Pauper sum ego, are similar stylistically to
those by the other composers of the Milan chapel, such
as Loyset Compre and Alexander Agricola.

3 Inuence
Josquins fame lasted throughout the 16th century, and
indeed increased for several decades after his death.
Zarlino, writing in the 1580s, was still using examples from Josquin in his treatises on composition; and
Josquins fame was only eclipsed after the beginning
of the Baroque era, with the decline of the pre-tonal
polyphonic style. During the 18th and 19th centuries
Josquins fame was overshadowed by later Roman School
composer Palestrina, whose music was seen as the summit of polyphonic renement, and codied into a system
of composition by theorists such as Johann Fux; however, during the 20th century, Josquins reputation has
grown steadily, to the point where scholars again consider
him the greatest and most successful composer of the
age.[53][54] According to Richard Sherr, writing in the introduction to the Josquin Companion, addressing specifically the shrinking of Josquins canon due to correction
of misattributions, Josquin will survive because his best
music really is as magnicent as everybody has always
said it was.[10]
Since the 1950s Josquins reputation has been boosted by
the increasing availability of recordings, of which there
are many, and the rise of ensembles specializing in the
performance of 16th century vocal music, many of which
place Josquins output at the heart of their repertoire.[55]

4 Media
5 Works list
The diculties in compiling a works list for Josquin cannot be overstated. Because of his immense prestige in
the early sixteenth century, many scribes and publishers
did not resist the temptation of attributing anonymous or
otherwise spurious works to Josquin. The German editor
Georg Forster summed up the situation admirably in 1540
when he wrote, Now that Josquin is dead, he is putting
out more works than when he was alive.[56] Thus, the authenticity of many of the works listed below is disputed.

5 WORKS LIST

5.1

Masses

4. Credo [Quarti toni] (canonic)

1. Missa Ave maris stella (Rome, 14861495) (four


voices)

5. Gloria De beata virgine

2. Missa D'ung aultre amer (four voices; authorship


questioned by Jeremy Noble)

7. Sanctus D'ung aultre amer

3. Missa de Beata Virgine (around 1510) (four voices


in parts III, ve voices in parts IIIV)

6. Sanctus De passione

8. Credo Vilayge (I)


9. Credo La belle se siet (probably Robert de Fvin)

4. Missa Di dadi (=N'aray je jamais) (four voices; authorship doubted by some scholars)
5.3
5. Missa Faisant regretz (four voices)
6. Missa Fortuna desperata (four voices)

Motets

1. Absalon, li mi (4vv) (attribution has been challenged; possibly Pierre de La Rue)

7. Missa Gaudeamus (four voices)

2. Absolve, quaesumus, Domine/Requiem aeternam


(6vv) (attribution has been challenged)

8. Missa Hercules Dux Ferrariae (Ferrara, 1503/04)


(four voices, six in Agnus III)

3. Alma redemptoris mater;

9. Missa La sol fa re mi (four voices)


10. Missa L'ami Baudichon (four voices)
11. Missa L'homme arm sexti toni (four voices, six in
Agnus III)
12. Missa L'homme arm super voces musicales (four
voices)
13. Missa Malheur me bat (four voices, six in Agnus III)
14. Missa Mater patris (four voices; authorship doubted
by some scholars)
15. Missa Pange lingua (Cond, around 1514) (four
voices)
16. Missa Sine nomine (four voices; canonic mass, originally titled Missa Ad fugam)

4. Alma redemptoris mater / Ave regina caelorum;


5. Ave Maria ... benedicta tu (4vv);
6. Ave Maria ... Virgo serena (Milan 1484/85);[57]
7. Ave munda spes, Maria (not in rst complete works
edition)
8. Ave nobilissima creatura
9. Ave verum corpus natum
10. Benedicta es, caelorum regina
11. Christum ducem, qui per crucem (4vv)
12. De profundis clamavi (4vv) (possibly middle-period
composition: attribution has been questioned)
13. De profundis clamavi (5vv) (late composition)
14. Domine exaudi orationem meam

Doubtful works:
1. Missa Ad fugam (four voices)
2. Missa da pacem (four voices)
3. Missa Una musque de Biscaya (Une mousse de Biscaye) (four voices)

15. Domine, ne in fuore tuo (4vv)


16. Domine, non-secundum peccata nostra (2-4vv; for
Rome)
17. Ecce, tu pulchra es, amica mea
18. Factum est autem
19. Gaude virgo, mater Christi

5.2

Mass fragments

Of questionable authenticity, with the exception of the


Credo De tous biens playne:

20. Homo quidam fecit cenam magnam


21. Honor, decus, imperium
22. Huc me sydereo descendere jussit Olympo (5vv)

1. Credo Chascun me crie (= Des rouges nez)

23. Illibata Dei virgo nutrix

2. Credo De tous biens playne

24. In exitu Israel de Aegypto

3. Credo Vilayge (II)

25. In illo tempore assumpsit Jesus doudecim disciplus

5.4

Motet-chansons

26. Iniquos odio habui (4vv, only tenor part survives)

57. Veni, sancte spiritus (also attrib to Forestier)

27. In principio erat Verbum (authenticity has been


questioned)[58]

58. Victimae paschali laudes

28. Inviolata, integra et casta es, Maria


29. Jubilate Deo omnis terra
30. Liber generationis Jesu Christi

59. Virgo prudentissima


60. Virgo salutiferi (Ferrara, 1504/05)
61. Vultum tuum deprecabuntur (7-part Passion cycle)
(1480s)

31. Magnicat quarti toni (attributed to Josquin on


stylistic grounds)
5.4
32. Magnicat tertii toni (attributed to Josquin on stylistic grounds)
33. Memor esto verbi tui
34. Miserere mei Deus (Ferrara, 1503)

Motet-chansons

1. A la mort / Monstra te esse matrem


2. Fortune destrange plummaige/Pauper sum ego
3. Que vous madame / In pace in idipsum

35. Misericordias Domini in aeternum cantabo (France,


5.5
1480/83)

Chansons

36. Missus est Gabriel angelus ad Mariam Virginem

1. A l'heure que je vous

37. Mittit ad virginem

2. A l'ombre d'ung buissonet, au matinet (3vv)

38. Monstra te esse matrem

3. Adieu mes amours

39. O admirabile commercium (part of a 5-motet cycle)

4. Adieu mes amours (6vv or 7vv)

40. O bone et dulcissime Jesu

5. Bais moy, ma doulce amye (4vv)

41. O Domine Jesu Christe (part of a Passion setting in 5


sections)

6. Belle, pour l'amour de vous

42. O virgo prudentissima

8. Cela sans plus

43. O virgo virginum

9. Comment peult haver joye

7. Bergerette savoyenne

44. Pater noster, qui es in caelis (Cond, 15051521)

10. Cueur langoreulx

45. Planxit autem David

11. De tous biens plaine (3vv)

46. Praeter rerum seriem

12. De tous biens plaine (4vv)

47. Qui edunt me adhuc

13. Douleur me bat

48. Qui habitat in adiutorio altissimi

14. Du mien amant

49. Qui velatus facie fuisti (part of a Passion setting in 6


sections)

15. Dulces exuviae

50. Salve regina (4vv)


51. Salve regina (5vv, 1502)
52. Stabat Mater
53. Tu lumen, tu splendor
54. Tu solus qui facis mirabilia
55. Usquequo Domine oblivisceris me (attrib on stylistic
grounds; only part survives)
56. Ut Phoebi radiis

16. En l'ombre d'ung buissonet tout, au long (3vv)


17. En l'ombre d'ung buissonet tout, au long (4vv)
18. Entr je suis en grant pense (3vv)
19. Entr je suis en grant pense (4vv)
20. Fama malum
21. Faulte d'argent
22. Fors seulement (only one of six voice parts survives)
23. Fortuna d'un gran tempo

10
24. Helas madame
25. Ile fantazies de Joskin
26. Incessament livr suis martire
27. Je me complains
28. Je n'ose plus
29. Je ris et si ay larme

6 NOTES
58. Vive le roy (instrumental piece, written for Louis
XII)
59. Vous l'arez, sil vous plaist
60. Vous ne l'arez pas
61. textless (4vv)

5.6 Frottole

30. Je sey bien dire


1. El Grillo
31. La belle se siet
32. La Bernardina
33. La plus de plus
34. Le villain [jaloux]
35. Ma bouche rit et mon cueur pleure
36. Mille Regretz (4 voices)
37. Mon mary m'a diame
38. N'esse pas ung grant desplaisir
39. Nymphes des bois (written for the death of Johannes
Ockeghem)

2. In te Domine speravi per trovar piet


3. Scaramella va alla guerra

6 Notes
[1] Macey et al., 8.
[2] ChoralWiki Illibata Dei virgo nutrix (Josquin des Prez)
[3] Clutterham.
[4] Wegman, pp. 2125.
[5] Reese, Grove.

40. Nymphes, napps / Circumdederunt me

[6] Wegman, p. 28.

41. Parfons regretz

[7] Wegman, pp. 2122.

42. Petite camusette;

[8] Sherr, p. 3.

43. Plaine de dueil

[9] Glareanus, quoted in Sherr, p. 3.

44. Plus n'estes ma maistresse

[10] Sherr, p. 10.

45. Plus nulz regretz (written between 1508 and 1511,


commemorating the 1507 Treaty of Calais (1507));

[11] Matthews and Merkley, pp. 208209.


[12] Reese et al., .

46. Plusieurs regretz

[13] Macey et al., 1.

47. Pour souhaitter

[14] Macey et al.,.

48. Quant je vous voye

[15] Pietschmann

49. Qui belles amours a

[16] Sherr, frontispiece

50. Recordans de my signora

[17] Macey, p. 155.

51. Regretz sans n;


52. Se congi prens

[18] David W. Barber, If It Ain't Baroque: More Music History as It Ought to Be Taught (Toronto: Sound and Vision,
1992), p. 34.

53. Si j'ay perdu mon amy (3vv)

[19] Merkley, pp. 544583

54. Si j'ay perdu mon amy (4vv)

[20] Macey, p. 184.

55. Tant vous aimme Bergeronette

[21] Milsom, p. 307.

56. Tenz moy en voz bras

[22] Sherr, p. 16.

57. Une mousque de Biscaye;

[23] Sherr, p. 17.

11

[24] Boorman, Stanley. Petrucci, Ottaviano (dei). Music


Printing and Publishing. New York: Norton, 1990, pp.
365369.
[25] Milsom, pp. 303305.
[26] Reese, pp. 184185.
[27] Noble, Grove (1980)
[28] Irving Godt, JMT, 264292.
[29] Blackburn, Planchart, Bloxham, Sherr, in Sherr, 51248.
[30] Blackburn, p. 72.
[31] Blackburn, pp. 5362
[32] Blackburn, p. 63
[33] Blackburn, p. 64
[34] Planchart, in Sherr, p. 109.
[35] Planchart, in Sherr, pp. 120130
[36] Planchart, in Sherr, pp. 130, 132.
[37] Planchart, in Sherr, p. 142.
[38] Reese, p. 240.
[39] Taruskin, p. 560.
[40] Blackburn, p. 78.
[41] A canon from the Agnus Dei II from the Missa L'homme
arm super voces musicales is written in a triangular form
in Dosso Dossi's Allegory of Music. See the entry Eye music.
[42] Milsom, p. 282
[43] Milsom, p. 284
[44] Milsom, p. 290
[45] Reese, p. 249
[46] Reese, p. 246
[47] Macey, p. xxx
[48] Milsom, p. 305
[49] Louise Litterick, in Sherr, pp. 335, 393
[50] Brown, Grove (1980), Chanson.
[51] Litterick, in Sherr, pp. 374376
[52] Litterick, in Sherr, p. 336
[53] David Fallows, in Sherr, p. 575.
[54] Higgins, .
[55] Sherr, p. 577; also Appendix B (Discography)
[56] Jesse Rodin, A Josquin Substitution, Early Music 34.2
(2006), p. 246
[57] For the latest work on dating, see Joshua Rifkin, Munich,
Milan, and a Marian Motet: Dating Josquins Ave Maria
... virgo serena, Journal of the American Musicological
Society 56.2 (2003), pp. 239350
[58] Finscher, Sherr, p. 264n

7 References and further reading


Atlas, Allan W., ed. Renaissance Music: Music in
Western Europe, 14001600. New York: Norton,
1998. ISBN 0-393-97169-4.
Blackburn, Bonnie J. Masses Based on Popular
Songs and Solmization Syllables. The Josquin
Companion, edited by Richard Sherr, 5188. Oxford and New York: Oxford University Press, 2000.
ISBN 0-19-816335-5.
Brown, Howard M. Chanson The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.
London, Macmillan, 1980. (20 vol.) ISBN 156159-174-2.
Charles, Sydney R. Josquin des Prez: A Guide to Research. New York and London: Garland Publishing,
Inc., 1983.
Clutterham, Leslie. Dating Josquins Enigmatic
Motet Illibata Dei virgo nutrix". Choral Journal
38, no. 3 (October 1997): 914. Online version
as "Auobiographical [sic] Constructions in Josquins
Motet Illibata Dei virgo nutrix: Evidence for a Later
Dating" (Accessed 8 May 2012).
Dun, Ross W., ed. A Josquin Anthology. Oxford
University Press, 1999. ISBN 0-19-353218-2.
Elders, Willem, ed. New Josquin Edition, 30 vols.
Utrecht: Koninklijke Vereniging voor Nederlandse
Muziekgeschiedenis, 1987 . ISBN 978-90-6375051-0.
Elders, Willem, and Frits de Haen, eds. Proceedings of the International Josquin Symposium,
Utrecht 1986 . Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1986. ISBN 90-6375148-6.
Elders, Willem, For a complete list of publications
by Josquin specialist Willem Elders, please visit his
website: willemelders.eu.
Fallows, David. Josquin. Turnhout: Brepols Publishers, 2009, ISBN 978-2-503-53065-9.
Gleason, Harold, and Warren Becker. Music in the
Middle Ages and the Renaissance. Bloomington, Indiana: Frangipani Press, 1981. ISBN 0-89917-034X.
Godt, Irving. Motivic Integration in Josquins
Motets. Journal of Music Theory, 21, 2 (Autumn,
1977): 264292.
Higgins, Paula. The Apotheosis of Josquin des
Prez and Other Mythologies of Musical Genius.
Journal of the American Musicological Society, 57,
3 (Autumn, 2004): 443510.

12
Lowinsky, Edward E., ed. Josquin des Prez. London: Oxford University Press, 1976.
Macey, Patrick. Bonre Songs: Savonarolas Musical Legacy. Oxford: Clarendon Press. 1998. ISBN
0-19-816669-9.
Macey, Patrick, Jeremy Noble, Jerey Dean, and
Gustave Reese. Dean Roote, ed. Josquin des Prez.
Grove Music Online. Retrieved 29 October 2010.
(subscription required)
Matthews, Lora, and Paul Merkley. Iudochus
de Picardia and Jossequin Lebloitte dit Desprez:
The Names of the Singer(s)".
The Journal
of Musicology 16, 2 (Spring 1998): 200226.
doi:10.2307/764140 JSTOR 764140
Merkley, Paul. Josquin Desprez in Ferrara. The
Journal of Musicology 18, 4 (2001): 544583.
Milsom, John. Motets for Five or More Voices. In
The Josquin Companion, edited by Richard Sherr,
281320. Oxford and New York: Oxford University Press, 2000. ISBN 0-19-816335-5.
Noble, Jeremy. Josquin Desprez (works)" The New
Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan, 1980. (20 vol.)
ISBN 1-56159-174-2.
Pietschmann, Klaus. Ein Grato von Josquin Desprez auf der Cantoria der Sixtinischen Kapelle Die
Musikforschung vol. 52 no. 2 (1999), pp. 204207.
Reese, Gustave. Music in the Renaissance. New
York: W. W. Norton, 1954. ISBN 0-393-095304.
Reese, Gustave. Josquin Desprez (biography)" The
New Grove Dictionary of Music and Musicians, ed.
Stanley Sadie. London, Macmillan, 1980. (20 vol.)
ISBN 1-56159-174-2.
Reese, Gustave, Jeremy Noble, Lewis Lockwood,
Jessie Ann Owens, James Haar, Joseph Kerman, and
Robert Stevenson. The new Grove High Renaissance
Masters: Josquin, Palestrina, Lassus, Byrd, Victoria. The Composer Biography Series; The New
Grove Dictionary of Music and Musicians. London: Macmillan Publishers, 198084. ISBN 0-39330093-5.
Sherr, Richard, ed. The Josquin Companion. Oxford: Oxford University Press, 2000. ISBN 0-19816335-5.
Taruskin, Richard. Music from the Earliest Notations to the Sixteenth Century. The Oxford History
of Western Music, Volume 1. New York: Oxford
University Press, 2010. ISBN 978-0-19-538481-9.

EXTERNAL LINKS

Wegman, Rob C. Who Was Josquin?" In The


Josquin Companion, edited by Richard Sherr, 21
50. Oxford and New York: Oxford University
Press, 2000. ISBN 0-19-816335-5.

8 External links
Josquin Research Project: http://josquin.stanford.
edu
"Josquin Deprs". Catholic Encyclopedia. New
York: Robert Appleton Company. 1913.
Free scores by Josquin des Prez in the Choral Public
Domain Library (ChoralWiki)
Free access to high-resolution images of
manuscripts containing works by Josquin from
Digital Image Archive of Medieval Music
Free scores by Josquin des Prez at the International
Music Score Library Project
The Mutopia Project has compositions by Josquin
des Prez
Josquin biography and discography
Listen to free recordings of compositions from
Ume Akademiska Kr.

13

Text and image sources, contributors, and licenses

9.1

Text

Josquin des Prez Source: http://en.wikipedia.org/wiki/Josquin_des_Prez?oldid=660907363 Contributors: Koyaanis Qatsi, R Lowry,


Olivier, Habj, JASpencer, Charles Matthews, Timwi, Clattuc, Hyacinth, Raul654, Dimadick, Robbot, Lzur, HangingCurve, Zigger,
Antandrus, MistToys, DragonySixtyseven, Marcus2, Joyous!, D6, Rich Farmbrough, Byrial, Stbalbach, Bender235, El C, Kwamikagami, Jashiin, Bobo192, Janna Isabot, Jolomo, Gunnernett, Linuxlad, Jumbuck, Gwalarn, Andrewpmk, Snowolf, Yossiea~enwiki, Ksnow,
YebisYa, Ilse@, Gmaxwell, Hyperfusion, Sterio, Angr, FeanorStar7, Wintermutee, Bluemoose, G.W., Darren Jowalsen, Graham87,
Rjwilmsi, Fwend, Brighterorange, FlaBot, RobertG, RexNL, Gwernol, RobotE, Conscious, Lusanaherandraton, Tony1, DeadEyeArrow,
Ms2ger, Orioane, Adso de Fimnu, Dwsolo, Bluewave, Yvwv, SmackBot, Mscuthbert, Eskimbot, Mslimix, Hmains, Pstzgibbon, Chris
the speller, ChuckHG, Kleinzach, FordPrefect42, Ammar shaker, Fugueman, Jwy, Makemi, Sesc~enwiki, Wiktoryn, Reccmo, Lambiam,
Harryboyles, JzG, Kuru, Capmo, Rainwarrior, BranStark, Joseph Solis in Australia, Marysunshine, Ewulp, Wikidwitch, Wspencer11, Mmdoogie, CmdrObot, Nunquam Dormio, Revloc3, WeggeBot, Moreschi, Neelix, Future Perfect at Sunrise, Selnformation, Ssilvers, Kozuch,
Thijs!bot, Epbr123, Ockeghem, N5iln, Folantin, PsychoInltrator, SusanLesch, Jmkelly, AntiVandalBot, Chubbles, Ghmyrtle, Deadbeef,
Speculoos, OhanaUnited, Igodard, Magioladitis, Celithemis, Bongwarrior, VoABot II, AuburnPilot, Jerome Kohl, Bobnotts, Cpl Syx,
Schuetz1619, DerHexer, JaGa, Gran Westling, Thatjenn, J.delanoy, DrKiernan, Czib, Chiome d'oro, NewEnglandYankee, Biglovinb,
Treisijs, Scotsman24, Wikdest, Spellcast, Iosef, DoorsAjar, Vipinhari, ElinorD, Optigan13, Tomaxer, Turangalila, AlleborgoBot, SieBot,
BotMultichill, Flyer22, Lightmouse, Stfg, Jesserodin, Dunkelweizen, Loren.wilton, ClueBot, PipepBot, Foxj, Jaime Urquijo~enwiki, SuperHamster, Jleighhudson, Niceguyedc, CrazyLuca, Excirial, MattHupfer, Shlishke, GFHandel, Thingg, Aitias, MelonBot, DumZiBoT,
RogDel, SilvonenBot, Noctibus, Jspector6, Addbot, Xdeadpoetsocietyx, Poppoppop4, Ljkngjnfgjbnkfgjbjkfg, Notatrolllol, Pi12345,
Billbillbillbill1234, Hopper111, AVand, Jojhutton, Toronten, Lightbot, PrimaVista, Clestur, Luckas-bot, Angry bee, Michaelscales, LlywelynII, Materialscientist, 90 Auto, Xqbot, Omnipaedista, Zetadraconis, D'ohBot, Stcaths, BRUTE, RedBot, Annbrepols, Zeljkovuckovac, Vrenator, Zink Dawg, Jhenderson777, Cjordahl, Bob123123123123, RjwilmsiBot, Ji10986, EmausBot, Wikipelli, K6ka, ZroBot,
Shuipzv3, SporkBot, Julia.cmcf, Palosirkka, Chewings72, TYelliot, ClueBot NG, AlbertBickford, RHarbor, Helpful Pixie Bot, Toccata
quarta, Fart1001, Sonphan10, Wow wow wuzzby, Griot-de, ChrisGualtieri, Basemetal, Khazar2, Dexbot, VIAFbot, Nicolas ANCEAU,
Medievalist9, Triceratropes, UneMusqueDeBiscaye, Jazzpty, SonPhanGreat, Jarodrieth, Awesomeguy383, Muziekjue, KasparBot and
Anonymous: 221

9.2

Images

File:DESPREZ.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/26/DESPREZ.jpg License: Public domain Contributors:


Originally from en.wikipedia; description page is/was here. Original artist: Original uploader was Clattuc at en.wikipedia
File:Ercole_I_d'Este.jpg Source: http://upload.wikimedia.org/wikipedia/commons/8/88/Ercole_I_d%27Este.jpg License: Public domain Contributors: ? Original artist: ?
File:Gnome-mime-sound-openclipart.svg
Source:
http://upload.wikimedia.org/wikipedia/commons/8/87/
Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart.
svg, which is public domain. Original artist: User:Eubulides
File:Josquin_Cor_meum.png Source: http://upload.wikimedia.org/wikipedia/commons/8/80/Josquin_Cor_meum.png License: Public
domain Contributors: Josquin des Prez, Psalm motet Domine ne in furore (Ps. 37), secunda pars Original artist: Josquin des Prez (c14501521). Music typeset by Fut.Perf.
File:Josquin_Des_Prez-Tu_Pauperum_Refugium.ogg Source: http://upload.wikimedia.org/wikipedia/commons/4/41/Josquin_Des_
Prez-Tu_Pauperum_Refugium.ogg License: GFDL 1.2 Contributors: Own work Original artist:
Composer: Josquin des Prez
File:Josquin_Missa_BV_Kyrie.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/16/Josquin_Missa_BV_Kyrie.jpg License: Public domain Contributors: Transferred from en.wikipedia to Commons. From http://www.ibiblio.org/expo/vatican.exhibit; also
available at U.S. Library of Congress. Manuscript is Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 45, folios 1v-2r. Original
artist: The original uploader was Antandrus at English Wikipedia
File:Josquin_Missa_Lhomme_arme_super_voces_musicales_Agnus_Dei_II_opening.png Source: http://upload.wikimedia.org/
wikipedia/commons/a/aa/Josquin_Missa_Lhomme_arme_super_voces_musicales_Agnus_Dei_II_opening.png License: CC BY-SA 2.5
Contributors: Transferred from en.wikipedia to Commons. Original artist: The original uploader was Jesserodin at English Wikipedia
File:Loudspeaker.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/8a/Loudspeaker.svg License: Public domain Contributors: New version of Image:Loudspeaker.png, by AzaToth and compressed by Hautala Original artist: Nethac DIU, waves corrected by
Zoid

9.3

Content license

Creative Commons Attribution-Share Alike 3.0

You might also like