The eclipse of Josquin’s fame, however, appears not to be quite so complete and thorough to-day as when the above words were written (1862). A number of German societies now regularly include his compositions in their programs, and some of his works have been given in New York during the current year (1914). But no matter how neglected, he occupies a great and honored place in the history of music. Hitherto, as we have seen, musicians had been almost entirely absorbed in the study and application of technical details. Their art was, first and foremost, an intellectual exercise, and its appeal, naturally, almost entirely limited to the intellect. To the modern amateur, good music is that which touches him. He wishes to be conscious of that indefinable spirit which is at once both simpler and deeper than intellect. The greater part of the contrapuntal subtleties of Okeghem must have left the listener cold, remaining in history only as amazing _tours de force_, whose artificial perfection could only be a stage in the development toward something higher. It was this higher quality, achieved by Josquin, which placed him at the head of composers of his time, and gives him importance in history. He, too, possessed the technical skill and learning necessary to the construction of contrapuntal riddles; he, too, was sometimes artificial, and occasionally surpassed even Okeghem in his quaint and grotesque combinations. But such intellectual gymnastic feats were not an important matter with him. He used, and has the distinction of being the first to use, learning as a means of expression, as the vehicle of personal, subjective, and sympathetic utterance. His style became simpler and more transparent, his conception of the text more poetic, and, by reason of these qualities, truth and beauty of expression are his chief merits.