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• Personalities
• Classical
• Composer
• Renaissance

(Ya’-kob Ob’-rekht) c. 1450–1505 Franco-Flemish composer Obrecht, who has long lived in the shadow of his more famous contemporary Josquin, may begin to receive the attention he deserves now that changes in Josquin’s biography show that many of the musical developments once attributed to him first appeared in Obrecht’s music. Innovator or not, Obrecht was a composer of considerable ...

• Personalities
• Classical
• Composer
• Renaissance

Christus vincit (1513). Recommended Recording: Nesciens Mater: Choral Works of Jean Mouton, Gentlemen of St John’s Cambridge (dir) Graham Walker (Quilisma) Introduction | Renaissance | Classical Personalities | Jacob Obrecht | Renaissance | Classical ...

• Styles & Forms
• Classical
• Renaissance

do as he wills; as for the other composers, they have to do as the notes will.’ Martin Luther on Josquin des Prez Leading Exponents Johannes Ockeghem Jacob Obrecht Josquin des Prez Heinrich Isaac Adrian Willaert Carlo Gesualdo Orlande de Lassus Thomas Tallis William Byrd Giovanni Pierluigi da Palestrina Giovanni Gabrieli Renaissance Style In the Renaissance style, motet ...

• Styles & Forms
• Classical
• Renaissance

taken from a secular song – is called a cantus firmus (‘fixed melody’). One of the most famous examples is ‘L’homme armé’: Du Fay, Ockeghem, Busnoys, Josquin and Obrecht were among the earliest composers to write a Missa L’homme armé, a competitive tradition that continued in the sixteenth century. Some of the most prolific composers of Mass settings in ...

• Inside the Music
• Classical
• Medieval Era

is structured by a masterful series of proportional relationships and it influenced later continental composers to do the same: it was used as a model by both Ockeghem and Jacob Obrecht (c. 1450–1505). For these features, and for its sonorous texture, it was justly famous in its day, and it is perhaps one of the most important pieces ...

• Women in Music
• Classical
• Renaissance

During the Renaissance, European noblewomen were taught to sing and play particular instruments deemed suitable for them, such as the harp, lute and keyboard. Improvising songs with accompaniment was an important aspect of such music-making but, as in other improvising traditions, few women of this class ever wrote down the music they created, so it ...