The motet-chanson was a specialized musical form of the Renaissance, developed in Milan during the 1470s and 1480s, which combined aspects of the contemporary motet and chanson.
The three most prominent composers of motet-chansons were Josquin des Prez, Loyset Compère, and Alexander Agricola, all of whom were in Milan, Italy, during the late 15th century as part of the progressive and opulent musical establishment of the Sforza family.
Josquin wrote three motet-chansons: "Que vous madame/In pace", "A la mort/Monstra te esse matrem", and "Fortune destrange plummaige/Pauper sum ego".
[3] Two of Agricola's motet-chansons, "L'eure est venue/Circundederunt" and "Revenez tous regretz/Quis det ut veniat", are preserved in manuscripts of the chanson albums of Margaret of Austria, Duchess of Savoy, as are two of Compère's, "Plaine d'ennuy/Anima mea" and "O devotz cocurs/O vos omnes".
[1] It has been inferred that the motet-chanson repertory may once have been much larger than is now known, since many of the surviving sources give only the Latin text for three-voice compositions of otherwise similar texture.