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DES PR$S, JOSQUIN (c. 1445–1521), also called DEPRES or DESPREZ, and by a latinized See also:form of his name, JODOCUS PRATENSIS Or A See also:PRATO, See also:French musical composer, was See also:born, probably in See also:Conde in the Hennegau, about 1445. He was a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of Ockenheim, and himself one of the most learned musicians of his See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time. In spite of his See also:great fame, the accounts of his See also:life are vague and the See also:dates contradictory. See also:Fetis contributed greatly towards elucidating the doubtful points in his Biographie universelle. In his See also:early youth Josquin seems to have been a member of the See also:choir of the collegiate See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church at St Quentin; when his See also:voice changed he went (about 1455) to Ockenheim to take lessons in See also:counterpoint; afterwards he again lived at his See also:birth-See also:place for some years, till See also:Pope See also:Sixtus IV. invited him to See also:Rome to See also:teach his See also:art to the musicians of See also:Italy, where musical know-ledge at that time was at a See also:low ebb. In Rome Des Pres lived till the See also:death of his See also:protector (1484), and it was there that many of his See also:works were written. His reputation See also:grew rapidly, and he was considered by his contemporaries to be the greatest See also:master of his See also:age. See also:Luther, who was a See also:good See also:judge, is credited with the saying that " other musicians do with notes what they can, Josquin what he likes. " The composer's See also:journey to Rome marks in a manner the transference of the art from its Gallo-Belgian birthplace to Italy, which for the next two centuries remained the centre of the musical See also:world. To Des Pres and his pupils See also:Arcadelt, Mouton and others, much that is characteristic in See also:modern See also:music owes its rise, particularly in their See also:influence upon See also:Italian developments under See also:Palestrina. After leaving Rome Des Plies went for a time to See also:Ferrara, where the See also:duke See also:Hercules I. offered him a See also:home; but before See also:long he accepted an invitation of See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XII. of See also:France to become the See also:chief See also:singer of the royal See also:chapel. According to another See also:account, he was for a time at least in the service of the See also:emperor See also:Maximilian I. The date of his death has by some writers been placed as early as 1501. But this is sufficiently disproved by the fact of one of his finest compositions, A See also:Dirge (Deploration) for Five Voices, being written to commemorate the death of his master Ockenheim, which took place after 1512. The real date of Josquin's decease has since been settled as the 27th of See also:August 1521. He was at that time a See also:canon of the See also:cathedral of Conde (see See also:Victor Delzant's Sepultures de Flandre, No. 118).
The most See also:complete See also:list of his compositions—consisting of masses, motets, See also:psalms and other pieces of sacred music—will be found in
Fetis. The largest collection of his MS. works, containing no less than twenty masses, is in the See also:possession of the papal chapel in Rome. In his lifetime Des Pres was honoured as an eminent composer, and the musicians of the 16th See also:century are loud in his praise. During the 17th and 18th centuries his value was ignored, nor does his See also:work appear in the collections of See also:Martini and Paolucci. See also:Burney was the first to recover him from oblivion, and See also:Forkel continued the task of rehabilitation. See also:Ambros furnishes the most exhaustive account of his achievements. An admirable account of Josquin's art, from the rare point of view of a modern critic who knows how to allow for modern difficulties, will be found in the See also:article " Josquin," in See also:Grove's See also:Dictionary of Music and Musicians, new ed. vol. ii. The Repertoire des chanteurs de St See also:Gervais contains an excellent modern edition of Josquin's See also:Miserere.
End of Article: DES
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