The “post-Josquin” style at its most seamless and luxuriant can be sampled in the work of the Fleming Nicolas Gombert (ca. 1495–ca. 1560). Gombert, too, was reputed to have been Josquin’s pupil, but the information comes from a late, remote observer—a German theorist named Hermann Finck, writing in 1556—and is very likely just another use of “Josquin” as a brand name.10 Finck probably drew an erroneous conclusion from Gombert’s humanistic elegy for Josquin (Musae Jovis, “O Muses of Jove!”) that had been commissioned in 1545 by the Antwerp publisher Tylman Susato to adorn a book of Josquin’s chansons.
- Citation (MLA):
- Richard Taruskin. "Chapter 15 A Perfected Art." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 2 Aug. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 15 A Perfected Art. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 2 Aug. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 15 A Perfected Art." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 2 Aug. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015005.xml