Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Mille regretz is a four-voice chanson from the 16th century whose attribution to Josquin des Prez is almost certainly erroneous. The song evidently draws some of its melodic material from Josquin's securely attributed five-voice Du mien amant. Mille regretz was a favourite of the Emperor Charles V and it is known in Spanish as La canción del Emperador. Apart from its plangent simplicity, musicians were presumably attracted by the royal connection: Spanish reworkings from the 16th-century include a mass setting by Cristóbal de Morales and variations for vihuela by Luis de Narváez and there is a chanson (SATTBB) by court composer Nicolas Gombert. Translations differ in their interpretation of the words 'fache/face amoureuse' in line 2 (variously "amorous anger" or "loving face").

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Psalm 93 is the 93rd psalm of the Book of Psalms, beginning in English in the King James Version: "The LORD reigneth, he is clothed with majesty". The Latin wording is Dominus regnavit, decorem indutus est. The Book of Psalms is part of the Hebrew Bible and the Christian Old Testament. In the slightly different numbering system of the Greek Septuagint and Latin Vulgate versions of the Bible, this psalm is Psalm 92. It is the first of a series of psalms (Psalms 93–99) which are called royal psalms as they praise God as King. In the Masoretic text and in English versions it has no title or author, but the Septuagint and Vulgate entitle it "On the day before the Sabbath, when the earth was founded: A Psalm of thanksgiving to (or for) David". The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant worship. It has often been set to music. The Latin version was set by Hildegard of Bingen, Josquin des Prez, Jean-Joseph de Mondonville and Jules Van Nuffel, among others. Heinrich Schütz and Ferdinand Hiller composed settings in German. Handel used verses from the psalm for his Chandos Anthem No. 4 for use in the Anglican Church.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

the French composer Josquin des Prez wrote masses, motets, chansons, and a handful of instrumental works. Much of his output comprises sacred polyphony. In recent years the Josquin canon has come into better focus. Ongoing research has made it possible to identify a corpus of approximately 102 securely attributed works, comprising a core group of 54 pieces alongside another 48 that are provisionally attributable. About three dozen works are problematic; another 208, including three lost compositions, are spurious. The total number of pieces somewhere attributed to Josquin is 346. Before the 1980s the seriousness of the problem was not adequately appreciated, owing to uncertainty about the dating and provenance of many central manuscripts as well as an undeveloped sense of how Josquin's musical style relates to that of his contemporaries and to the generation of composers who came after him. The enormous number of misattributions in the surviving sources reflects Josquin's unprecedented posthumous fame, above all in German-speaking lands. In 1540 the German editor Georg Forster summed up the situation: "I remember a certain eminent man saying that now that Josquin is dead he is putting out more works than when he was alive." The New Josquin Edition (NJE), published between 1987 and 2017, classifies as spurious—and therefore does not print—approximately 158 works; the actual number of inauthentic compositions is probably considerably higher. Scores of every piece somewhere attributed to Josquin can be accessed through the Josquin Research Project.

Mille regretz is a four-voice chanson from the 16th century whose attribution to Josquin des Prez is almost certainly erroneous. The song evidently draws some of its melodic material from Josquin's securely attributed five-voice Du mien amant. Mille regretz was a favourite of the Emperor Charles V and it is known in Spanish as La canción del Emperador. Apart from its plangent simplicity, musicians were presumably attracted by the royal connection: Spanish reworkings from the 16th-century include a mass setting by Cristóbal de Morales and variations for vihuela by Luis de Narváez and there is a chanson (SATTBB) by court composer Nicolas Gombert. Translations differ in their interpretation of the words 'fache/face amoureuse' in line 2 (variously "amorous anger" or "loving face").

This list is a collection of the final resting sites of notable composers and musicians in the history of classical music. It includes photographs of the graves alongside notes providing some context or additional information. In cases where the grave has not been preserved or has been lost, the list includes the current location of the tombstone, plaque or memorial commemorating the burial place of the respective classical musician, if such a commemoration exists. The list is limited to composers, conductors, instrumentalists and other figures of significant fame, notability or importance in the classical music tradition who also have current Wikipedia articles. This is not an exhaustive list.

Antoine Brumel (French pronunciation: [ɑ̃twan bʁymɛl]; c. 1460 – 1512 or 1513) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.