(1578), which also includes some secular works, many of which are occasional pieces written in honor of local nobility, including Margaret of Parma; and a group of 14 Marian antiphons, like the masses published posthumously. Stylistically they are typical of late-16th-century practice, alternating homophonic and polyphonic textures, and using groups of voices in alternation in a cori spezzati style; the influence of the Venetian school was felt even as far away as the Netherlands. Pevernage also wrote Italian madrigals, in Italian; it was a wildly popular form even in northern Europe (the vogue in England was just beginning in the late 1580s), and also wrote many French chansons, published in four separate books. They make use of syncopation, melismas, and complex rhythms. Notes References and further reading Andreas Pevernage, Cantiones sacrae. Ed. Gerald R. Hoekstra, 3 vols., Middleton, WI, 2010 Kamiel Cooremans, "Andreas Pevernage", The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. (note: the article in the 1980 New Grove is completely different from that in the online edition) Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. External links 1540s births 1591 deaths Flemish composers 16th-century Franco-Flemish composers People from Harelbeke Renaissance composers