his name is not included in the chapel payments in October which was authorised shortly after Philip's death. Agricola's own death on August 15th, 1506 is confirmed by an epitaph found in a 16th century manuscript in Brussels, it reads: Epitaph. Here lies one whom death ensnared: a Ghenter, formerly called Master Alexander Agricola, well spoken of in music. Death dispatched him on 15 August 1506: God grant that he be comforted and seated among the righteous. Amen. Musical style Related schools and composers Agricola is one of the few transitional figures between the Burgundian School and the style of the Josquin generation of Netherlanders who actually wrote music in both styles. Agricola's style is related to that of Johannes Ockeghem, especially early in his career, and towards the end of his life he was writing using the pervasive imitation characteristic of Josquin des Prez. While few of his works can be dated precisely, he does use many of the non-imitative, complex, rhythmically diverse contrapuntal procedures more often associated with Ockeghem. Unlike Ockeghem, however, he was willing to employ repetition, sequence, and florid imitation in the manner of the other composers who were working around 1500 when the technique became widespread. Genres Agricola wrote masses, motets, motet-chansons, secular songs in the prevailing formes fixes such as rondeaux and bergerettes, other chansons, and instrumental music. Much of his instrumental music was based on secular music by Gilles Binchois or Ockeghem. Many of these pieces had become quite popular in the late 15th century. Compositional hallmarks Above all the variants in his general musical style over his working life, Agricola himself wrote in a highly distinctive style, taking the mysteriously sinuous lines of Ockeghem as his point of departure. His music is often very busy and highly detailed, with repeated sequence, repetition of terse rhythmic and motivic units, and a desire to usurp the underlying pulse, sometimes seeming to border on the perverse, either by prolonging cadential figures to cadence on the "wrong" beat, or by shifting the metrical beat of some parts against others. As an example, the closing Agnus Dei of his unusually extended Missa 'In myne zin''' features the cantus firmus stated in equal notes of eleven minims duration each in first statement, followed by a statement of five minims duration each, or in the second Salve Regina setting, offsetting part of the statement of the cantus firmus by