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Abstract This study describes and evaluates some newly identified polyphonic phenomena in Josquin’s most securely attributed works for five and six voices. By examining some characteristic touches of Josquin’s hand, it aims to shed new light on the later style of this celebrated yet enigmatic composer, and contributes to the debate about what makes Josquin sound like Josquin. Specifically, it looks at how Josquin sometimes interlocked passages of canon and stretto fuga against bass motion along the chain of 5ths, and then evolved this aspect of craft to the point where it contributes to the perceived tonality, modality and form of individual works. Extracts from nine pieces by Josquin are examined: five motets, three chansons, and the Credo of the Missa De beata virgine. Closest attention is paid to passages from Pater noster, Nimphes napées, Preter rerum seriem, Douleur me bat and Plaine de deuil.
John Milsom (Mon,) studied this question.