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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The Renaissance (early 15th to early 17th centuries) half of the program will sweep through madrigals, motets, chanconnes, part-songs, one movement of a mass and dance music, mainly from France, Germany, Italy and England by such masters as Guillaume Dufay, Johannes Ockeghem, Josquin Desprez, Claudin de Sermisy, Clement Janequin, Orlando di Lasso, Orazio Vecchi, Luca Marenzio, Giovanni Pierluigi da Palestrina, Hanns Leo Hassler, Orlando Gibbons, Thomas Morley and John Dowland.
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.
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 disc contains the choral music of composers Guillaume du Fay, Josquin Desprez, Johannes Ockeghem, Antoine Busnoys, Hilaire Penet, Richard Hygons, and John Dunstaple.
Featured composers include Orlando de Lassus, Johannes Ockeghem, Phillipe Rogier, Guillaume Dufay, and Philippe de Monte, among others.
Hailed by contemporaries as "the true image of Orpheus" and one of the best composers of his day, Johannes Ockeghem (c.
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.
Bernstein supplements comparisons made between Johannes Ockeghem and Johann Sebastian Bach with his unique analysis of Ockeghem's Missa Prolationum based on the listener's (rather than just the singer's) engagement with its intricate contrapuntal structures and "multiple agendas" (p.
In the course of their narrative, they provide important, often new information on the leading European musicians of the early-modern period and their associations with the duchy of Milan: the composers Alexander Agricola (63) and Loyset Co mpare (102, 115, 133, 178, 236), the music theorist and university professor Gaffurius (300), the composers Johannes Martini (76, 102, 115) and Johannes Ockeghem (80), the lutenist Pietrobono (217), the composer Gaspar Weerbecke (77), and many, many others.
In "Imitation in the Motets of Antoine Busnoys," Mary Natvig isolates Busnoys's (or Busnois's) use of fuga within phrases as a method he harnessed to cue the listener for an upcoming structural articulation or to illustrate compositional prowess when naming himself, his mentor Johannes Ockeghem, or his name-saint, Anthony.
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.