Editing Josquin des Prez (section)

====Youth====
There is no documentary evidence covering Josquin's education or upbringing.{{sfn|Reese|1984|p=3}} Fallows associates him with Goseequin de Condent, an [[altar boy]] at the collegiate church of Saint-Géry, [[Cambrai]] until mid-1466.{{sfn|Fallows|2020|pp=13, 35}} Other scholars such as [[Gustave Reese]] relay a 17th-century account from [[Cardinal Richelieu]]'s friend Claude Hémeré, suggesting that Josquin became a choirboy with his friend [[Jean Mouton]] at the Collegiate Church of Saint-Quentin;{{sfn|Reese|1984|p=3}} this account has been questioned.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}} The collegiate chapel there was an important center of royal patronage and music for the area. All records from Saint-Quentin were destroyed in 1669, and Josquin may have acquired his later connections with the French royal chapel through an early association with Saint-Quentin.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}} He may have studied under [[Johannes Ockeghem]], a leading composer whom he greatly admired throughout his life. This is claimed by later writers such as [[Gioseffo Zarlino]] and [[Lodovico Zacconi]]; Josquin wrote a [[lamentation]] on the death of Ockeghem, ''[[Nymphes des bois]]''.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}} There is no concrete evidence for this tutorship, and later commentators may only have meant that Josquin "learnt from the older composer's example".{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}} Josquin [[Musical quotation|musically quoted]] Ockeghem several times, most directly in his double motet ''Alma Redemptoris mater/Ave regina caelorum'', which shares an opening line with Ockeghem's motet ''Alma Redemptoris mater''.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}}{{sfn|Finscher|2000|pp=258–259}}{{refn|The similarities between these two pieces are "often cited as a clear allusion";{{sfn|Fallows|2020|p=37}} Fallows expresses uncertainty on how meaningful the similarities between Josquin's ''Alma Redemptoris mater/Ave regina caelorum'' and Ockeghem's ''Alma Redemptoris mater'' are, see {{harvtxt|Fallows|2020|p=37}}. See {{harvtxt|Finscher|2000|pp=258–260}} for analysis on how Josquin quickly departs from Ockeghem's style in this work. See [[:File:Comparison of Alma Redemptoris mater-Ave regina caelorum and Alma Redemptoris mater.png|this image]] for an example.|group=n}}

Josquin could have been associated with [[Old Cambrai Cathedral|Cambrai Cathedral]], as there is a "des Prez" among the cathedral's musicians listed in ''Omnium bonorum plena'', a motet by Compère.{{sfn|Fallows|2020|p=25}} The motet was composed before 1474 and names many important musicians of the time, including [[Antoine Busnois]], [[Johannes Tinctoris]], [[Johannes Regis]], Ockeghem and [[Guillaume Du Fay]].{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}} The motet may refer to the singer Pasquier Desprez, but Josquin is a likelier candidate.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§1 "Birth, family and early training (''c''1450–75)"}}{{sfn|Fallows|2020|p=27}}{{refn|Due to chronological issues in his career Josquin was long dismissed as the "des Prez" of Compère's motet.{{sfn|Fallows|2020|p=25}} Modern research allows for the reexamination of this possibility. See {{harvtxt|Fallows|2020|pp=25–29}} for further information.|group=n}} Josquin was certainly influenced by Du Fay's music;{{sfn|Fallows|2020|p=39}} the musicologist [[Alejandro Planchart]] suggests that the impact was not particularly large.{{sfn|Planchart|2004|loc=§2 "Posthumous reputation"}}