Several generations of Renaissance composers from the region loosely known as the "Low Countries" —i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Franco-Flemish School", though a teacher-student-relationship between them rarely existed. Most of these musicians were born in the thriving Burgundian provinces of Artois, Flanders, Brabant, Hainaut, or Limburg. Others were born in Northern and Central France, like Guillaume Faugues and Antoine Brumel who was one of the most influential composers of his generation. During periods of political and economic stability, the courts of the Burgundian dukes were a centre of cultural activity in Europe. Franco-Flemish composers had their origins in ecclesiastical choir schools such as at the cathedrals and collegiate churches of Saint-Quentin, Arras, Valenciennes, Douai, Bourges, Liège, Tournai, Cambrai, Mons, Antwerp, Bruges, and Ghent, although they were famous for working elsewhere. Numerous musicians establish themselves in French court or moved to the European courts in Italy where they were called "I fiamminghi" or Oltremontani and Spain—notably in the Flemish chapel of the Habsburgs, or to towns in Germany, and other parts of Europe—Poland, the Czech lands, Austria, Hungary, England, Sweden, Denmark, Saxony—carrying their styles with them. The exact centres shifted during this time, and by the end of the sixteenth century the focal point of the Western musical world had moved from the Low Countries to Italy. To conclude, let usrecall that the expression "Franco-Flemish" and the more biased one of "Dutch school" are still controversial among musicologists. They were not in effect at that time and seem to cover only part of the linguistic, political, territorial and historical reality.
Development
Following are five groups, or generations, that are sometimes distinguished in the Franco-Flemish/Netherlandish school. Development of this musical style was continuous, and these generations only provide useful reference points.
The First generation, dominated by Jean Tapissier, Guillaume Du Fay, Gilles Binchois and Antoine Busnois; this group of composers is most often known as the Burgundian School. The origins of the style of the first generation embraces both earlier Burgundian traditions and also Italian and English styles. For example, in 1442, the poet Martin le Franc praised Binchois and Dufay for following Dunstaple in adopting the contenance angloise.
Composed between 1450 and 1520, these motets were typically written for four voices, with all voices being equal. They often exhibit thick, dark textures, with an extended low range. The most notable composers of this style include Ockeghem and Josquin, whose De profundis clamavi ad te, composed between 1500 and 1521, provides a good example.
