Antoine Brumel

These changes can be seen in his music, with some of his earlier work conforming to the older style, and his later compositions showing the polyphonic fluidity which became the stylistic norm of the Josquin generation.

Brumel wrote a Missa l'homme armé, as did so many other composers of the Renaissance: appropriately, he set it as a cantus firmus mass, with the popular song in long notes in the tenor, to make it easier to hear.

According to Heinrich Glarean, writing in 1547, it was written in competition with Josquin, who simultaneously wrote his own Missa de Beata Virgine, and the two works are similar in style.

[1] Brumel's Missa pro defunctis for four voices, a late work, is notable for being the first polyphonic requiem setting to include the Dies Irae.

One peculiar feature of Brumel's style is that sometimes he uses very quick syllabic declamation in chordal writing, anticipating the madrigalian fashion of later in the 16th century.