Editing Josquin des Prez (section)

====Commendation, decline and reconsideration====
[[File:L'homme arme agnus dei.jpg|upright=1.4|thumb|Agnus Dei II, from Josquin's ''Missa L'homme armé super voces musicales'', as reprinted in the ''Dodecachordon'' of [[Heinrich Glarean]]]]

There is little information on Josquin's reputation during his lifetime.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} His composition of masses was commended by [[Paolo Cortesi]], and the poet [[Jean Molinet]] and the music theorists Gaffurius and [[Pietro Aron]] wrote about his works.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Josquin's popularity during his lifetime is also suggested by publications: Petrucci's ''Misse Josquin'' of 1502 was the first single-composer mass anthology, and Josquin was the only composer whose masses merited a second and a third volume.{{sfn|Fallows|2020|p=193}}{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Fallows asserts that Josquin gained European renown between 1494 and 1503, since the Petrucci publications and references by Gaffurius and Molinet occurred during this time.{{sfn|Fallows|2020|p=193}} After Josquin's death, humanists such as [[Cosimo Bartoli]], [[Baldassare Castiglione]] and [[François Rabelais]] praised him, with Bartoli describing him as [[Michelangelo]]'s equal in music.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Josquin was championed by the later theorists Heinrich Glarean and Gioseffo Zarlino,{{sfn|Wegman|2000|pp=21–25}} and the theologian Martin Luther declared "he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will."{{sfn|Burkholder|Grout|Palisca|2014|p=200}}

Upon the emergence of [[Baroque music]] in the 17th century, Josquin's dominance began to lessen.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} He was overshadowed by Palestrina, who dominated the pre-[[common practice period]] musical narrative, and whose compositions were considered the summit of polyphonic refinement.{{sfn|Higgins|2004|p=472}} Until the 20th century, discussion of Josquin's music was mainly limited to music scholars such as the theorists [[Angelo Berardi]] in the 1680s–1690s, and [[Johann Gottfried Walther]] in 1732.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} The late 18th century saw a new interest in Netherlandish music: studies from [[Charles Burney]], [[Johann Nikolaus Forkel]], {{ill|Raphael Georg Kiesewetter|de}} and [[François-Joseph Fétis]] gave Josquin more prominence.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{sfn|Elders|2013|p=41}} The music historian [[August Wilhelm Ambros]] described Josquin in the 1860s as "one of the towering figures of Western music history, not merely a forerunner of Palestrina but his equal",{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} and his research established the foundation for modern Josquin scholarship.{{sfn|Higgins|2004|p=454}} In the early 20th century, leading musicologists such as [[Alfred Einstein]] and [[Carl Dahlhaus]] largely dismissed Josquin.{{sfn|Higgins|2004|p=455}} Various publications then began to raise his status, beginning with a new edition of his complete works by [[Albert Smijers]] (1920s) and high evaluation by [[Friedrich Blume]] in the ''{{ill|Das Chorwerk|de}}'' series.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} The [[early music revival]] raised Josquin's status, and brought the first major study on him by [[Helmuth Osthoff]] (Vol 1 1962/Vol 2 1965), an influential article by Lowinsky (1964),{{sfn|Lowinsky|1964}} and debates between the musicologist [[Joseph Kerman]] and Lowinsky (1965).{{sfn|Higgins|2004|p=455}} The 1971 International Josquin Festival-Conference firmly established Josquin in the center of Renaissance music, a position later cemented by Lowinsky's 1976 monograph.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{sfn|Higgins|2004|p=455}} The ''New Josquin Edition'' began publication in 1987.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}