Part of a motet by Brumel, Naumann, History of Music, Vol. I, page 333, used to illustrate the idea of the harmonic feeling of some of the polyphonic writers. The rest of the composition is strictly in the polyphonic style. =Jakob Hobrecht= (1430-1506) was the first real Dutch composer, and is noted, in his use of technical forms, for their emotional beauty rather than mechanical excellence. [Music] Part of a composition by Hobrecht, cited by Naumann, “History of Music,” Vol. I, page 331. Excerpt shows how strictly even this fragment is written and yet how musical it is. At 1 is shown a figure in the bass repeated in imitation a step higher at 2. At A is shown a melody imitated at B in augmentation and with altered rhythm. The student should refer to Naumann. This is truly a remarkable work for that period, and shows that even then composers were beginning to observe the emotional power of chord relationship. =Johann Tinctor= (1446-1511), a disciple of Okeghem, worked in Rome and Naples, and will be considered with the Italian school. =Josquin de Pres= (1450-1521), also a disciple of Okeghem, worked in Rome and Paris, and must also be considered as one of the Italian school. It may be here mentioned that he was one of the first to use music as a vehicle for expressing human emotions rather than technical power. He summed up in himself all the harmonic science of the 15th century. He was renowned through all Europe as a composer, and if his music seems to us somewhat dry and pedantic there is abundant testimony to the deep impression it made upon his contemporaries, which is a test of its power to excite and to express emotion. Compared with the works of his predecessors and even the majority of his contemporaries, Josquin’s writings show freedom from the bonds of the old scholasticism, greater simplicity and esthetic beauty. Among those of his works that have come to us is a _Miserere_ for five voices, and an _Ave Maria_ that cannot be considered other than lovely music. =Nicholas Gombert= (1495-1570), a pupil of Josquin de Pres, had a natural, tuneful and flowing style similar to that afterwards shown by Palestrina. His work was done in Madrid, and to him Spain and Portugal owe all they have of the ancient polyphonic music. =Jacob Arkadelt= (1492-1570) and =Claude Goudimel= (1510-1572) worked in Rome, =Adrian Willaert= (1480-1562) and =Cyprian de Rore= (1516-1565) in Venice, and will be considered with the Italian school. =Orlando di Lasso= (1520-1594) worked some in Italy, but mostly in Munich, where his influence was great. His style was broad, flowing and especially emotional, and as a writer of the Netherlands school his name stands as one of the very highest. =J. P. Sweelinck= (1562-1621) is the last, and while of the Netherlands, studied in Venice, but did his work at home. He was a great organist and the last great master of the school, and had the honor of being the link between it and the