Until 1997 Josquin was thought to have joined the papal choir in 1486, as he was mistakenly identified with a 'Jo. de Pratis' in papal documents. It is now thought that this refers to the composer Johannes de Stokem instead, and thus the earliest record of Josquin's employment in the papal choir is from 1489.[58] See Starr (1997) for further information. Starr, Pamela F. (Winter 1997). "Josquin, Rome, and a Case of Mistaken Identity". The Journal of Musicology. 15 (1): 43–65. doi:10.2307/763903. JSTOR763903.
Composers writing laments for fellow composers was a long-standing tradition in medieval and Renaissance music.[185][186] Earlier examples include F. Andrieu's Armes, amours/O flour des flours (1377) for Machaut, Ockeghem's Mort, tu as navré de ton dart (1460) for Binchois and Josquin's own Nymphes des bois (1497) for Ockeghem.[187] See Rice (1999, p. 31) for a complete list of extant medieval and Renaissance laments. Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's Déploration for Claudin de Sermisy". Revue de Musicologie. 85 (1): 29–62. doi:10.2307/947006. JSTOR947006.
Fagnart 2019, p. 75. Fagnart, Laure (2019). "Gaspar Depicted? Leonardo's Portrait of a Musician". In Lindmayr-Brandl, Andrea; Kolb, Paul (eds.). Gaspar van Weerbeke: New Perspectives on his Life and Music. Epitome musical. Turnhout: Brepols. pp. 73–77. doi:10.1484/M.EM-EB.4.2019026. ISBN978-2-5035-8454-6.
Rice 1999, p. 31. Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's Déploration for Claudin de Sermisy". Revue de Musicologie. 85 (1): 29–62. doi:10.2307/947006. JSTOR947006.
Until 1997 Josquin was thought to have joined the papal choir in 1486, as he was mistakenly identified with a 'Jo. de Pratis' in papal documents. It is now thought that this refers to the composer Johannes de Stokem instead, and thus the earliest record of Josquin's employment in the papal choir is from 1489.[58] See Starr (1997) for further information. Starr, Pamela F. (Winter 1997). "Josquin, Rome, and a Case of Mistaken Identity". The Journal of Musicology. 15 (1): 43–65. doi:10.2307/763903. JSTOR763903.
Composers writing laments for fellow composers was a long-standing tradition in medieval and Renaissance music.[185][186] Earlier examples include F. Andrieu's Armes, amours/O flour des flours (1377) for Machaut, Ockeghem's Mort, tu as navré de ton dart (1460) for Binchois and Josquin's own Nymphes des bois (1497) for Ockeghem.[187] See Rice (1999, p. 31) for a complete list of extant medieval and Renaissance laments. Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's Déploration for Claudin de Sermisy". Revue de Musicologie. 85 (1): 29–62. doi:10.2307/947006. JSTOR947006.
Rice 1999, p. 31. Rice, Eric (1999). "Tradition and Imitation in Pierre Certon's Déploration for Claudin de Sermisy". Revue de Musicologie. 85 (1): 29–62. doi:10.2307/947006. JSTOR947006.
Modern scholarship differs in how it describes Josquin's nationality; his exact birthplace is unknown,[14] and determining nationalities for 15th-century composers is problematic in general.[19] He is known to have been born somewhere in French-speaking Flanders.[18] The musicologist Gustave Reese contends that "By far the greater number of [Josquin's] secular compositions have French texts. Culturally and legally Josquin was a Frenchman".[20] As such, sources such as Patrick Macey, Jeremy Noble, Jeffrey Dean and Reese in Grove Music Online call him a "French composer".[6] The musicologist Nanie Bridgman [fr] notes that Josquin succeeded Ockeghem in leading the 'Netherland[ish] Style', but also that Josquin and his contemporaries united that school with the "very different world of French music",[19] resulting in what scholars call the Franco-Flemish School.[21] Some sources refer to him as 'Franco-Flemish'.[22][23]
