believe them to have been composed by composers such as Josquin, or Jean Japart. In style, much of his motet writing is homophonic, incorporating some of the lightness of the contemporary Italian secular music. Most of his masses are based on chanson melodies, which are stated clearly in the tenor voice, and the other voices usually move in a simple, occasionally parallel manner, related to the manner of Dufay or the other Burgundians. Once in a while Weerbeke uses imitation but never in the paired manner of Josquin or the pervasive manner of the later Franco-Flemish composers; his style of composition of masses is almost archaic in comparison to his contemporaries. His music was much esteemed, especially in Italy, where it represented perhaps the popular aesthetic as opposed to the contrapuntal, but foreign grandeur of most of the composers from the Low Countries. Recordings 2003: Canticum Canticorum. In Praise of Love: The Song of Songs in the Renaissance, Capilla Flamenca. Eufoda 1359. Contains recordings of Tota pulchra es and Anima mea liquefacta est by Gaspar van Weerbeke. References and further reading Article "Gaspar van Weerbeke", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. Eric F. Fiedler, Die Messen des Gaspar van Weerbeke, Tutzing, 1997 Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. External links The Gaspar van Weerbeke Project at the University of Salzburg The Gaspar Online Edition 1445 births 1517 deaths Belgian classical composers Belgian male classical composers Flemish composers 16th-century Franco-Flemish composers Renaissance composers People from Oudenaarde 15th-century Franco-Flemish composers