It is by virtue of another quality, his gift for teaching, that Okeghem lives to-day. As the founder of the Netherland school merely, his influence must almost have ceased when the traditions of that school were superseded by the vital enthusiasm of another; but, as the teacher of the leaders of succeeding schools, he has achieved a kind of immortality sometimes missed by greater artists. In the whole history of music Okeghem as a teacher stands alone. Only Porpora, possibly, the great singing master of the eighteenth century, can be compared to him. Kiesewetter says, 'Through his pupils the art was transplanted into all countries, and he must be regarded (for it can be proved by genealogy) as the founder of all schools from his own to the present age.’ Only a few of his most distinguished pupils can be mentioned here: Jean de Roi, Basiron, Jacques Barbireau, Pierre de la Rue, Compère, Agricola, Caron, Verbonnet, Brumel, and, greatest of all, Josquin des Prés. Some of them, such as Agricola, unfortunately conceived the writing of contrapuntal intricacies to be their chief duty; while others used their acquired knowledge to better purpose. The Belgian, Hobrecht (1450-1505), chapel master of Notre Dame at Antwerp, was probably not a personal pupil of Okeghem, though a zealous follower and admirer. While assimilating and adopting the master’s ingenuity, he also was able to weave into his masses and motets a personal, subjective quality which marks them with the composer’s individuality. So highly esteemed was Hobrecht in his day that in 1494 the whole choir of the principal church in Bruges, for which he had written a mass, travelled to Antwerp in order to express thanks and do him honor.