Josquin analysis

Form: Motet’s musical material follows the verbal material of stanzas. Since there are no
repetitions in lyrics - the music is also non-repetitive, variable and constantly introducing
with new ideas.

Harmony: Josquin mainly focuses on consonances and tries to use perfect intervals (p.4, p.5,
octaves). However, some dissonances appear but rarely (in deceptive cadences, also when
having leading tones).

Texture: Polyphonic and chordal harmony. Melody imitations, pairing voices, making
shadow cannons are the inherent part of this piece.

Rhythm: Josquin avoids complex rhythmic figures. Meter changes in bar 94 from duple to
triple.

Melody characteristics: moves in stepwise motion, bigger jumps are done very carefully.

Word painting: Each phrase corresponds to a line of text, cleverly exposed through points of
imitation. Structural articulations often resolve on cadences, where voices arrive on perfect
intervals. The most important words are highlighted by sudden change in rhythmic figures
(larger value notes).

Comparison with Gregorian chant: the style of litany reassembles to Gregorian chant. Melody
of Gregorian chant moves stepwise, avoiding jumps as it is in Josquin motet. In Gregorian
chant there is one or two notes per syllable (syllabic and neumatic melody type), however, in
Josquin we can notice that despite these two types he often uses melismatic melodies (4 and
more notes per syllable) and in this way creates longer and more complex passages.
Moreover, Gregorian chant is homophonic meanwhile Josquin’s motet is polyphonic.