Okeghem, Jean d'

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Okeghem, Jean d':

see Ockeghem, JohannesOckeghem, Johannes
, c.1410–1497, Flemish composer. Ockeghem is thought to have been a pupil of Gilles Binchois and was definitely taught by Guillaume Dufay. He himself taught Josquin Desprez.
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References in periodicals archive ?
The bibliography of primary and secondary sources seems, with a handful of exceptions, to stop at about 1986 and omits several germane studies and editions published in the last six years, most notably Andrea Lindmayr's Quellenstudien zu den Motetten von Johannes Ockeghem (Heidelberg, 1990).
This essay considers the transformation of the chanson by Gilles Binchois named in the essay's title into larger scale musical structures of the polyphonic mass by Johannes Ockeghem.
Just as significant for an understanding of Du Fay now is the clearer picture that has emerged of some of his contemporaries, perhaps especially Binchois, but also slightly younger figures such as Johannes Ockeghem, Antoine Busnoys, Johannes Regis, and Firminus Caron.
The Alamire manuscripts are among the most highly prized treasures of several European libraries and archives, and they are regarded by musicologists as significant sources for the music of a large group of Franco-Flemish composers, including Johannes Ockeghem, Alexander Agricola, Heinrich Isaac, Josquin Desprez, Jean Mouton, and, above all, Pierre de Ia Rue, who is represented by almost his entire compositional output.
Referring to Josquin Deprez's Deploration for Johannes Ockeghem, Elders observes that the letters of Ockeghem's name provide the number sixty-four, equaling the notes in the final section of Josquin's piece.
They hailed from France, Italy, and the Low Countries and included such celebrated musicians as Johannes Ockeghem, Jacob Obrecht, Josquin Desprez, Antoine Brumel, Johannes Ghiselin, Pierre de La Rue, Sermisy, Verdelot, Clement Janequin, Jean Richafort, Nicolas Gombert, and Adrian Willaert.
But with Binchois, as well as other fifteenth-century figures including until recently Antoine Busnoys and Johannes Ockeghem, the lack of convenient access to their works has inhibited a focused consideration of their style and range of musical achievement.