With Joannes Okeghem (about 1430-1495 or 6) the second Netherland school was ushered in. This master, to whom the laudatory title of ‘Prince of Music’ was given, appears to have carried the possibilities of contrapuntal ingenuity and contrivance to extremest limits. Comparatively few of his works are extant, and most of these display wonderful technical skill in handling musical problems rather than attempts at expression. Among those preserved is the famous _Missa cujusvis toni_ (mass in any tone or mode), which seems to have been composed as an intellectual exercise for the highly trained choristers of his time, demanding in its rendition perfect mastery of all the church modes and ability to transpose from one mode to another. He was rather a great teacher and theorist than a great church composer. His pupils carried the art of polyphony into all countries and Kiesewetter maintains that through these students he became ‘the founder of all schools from his own to the present age.’[22] One of the most prominent of Okeghem’s contemporaries was Jacob Hobrecht or Obrecht (1430-1505 or 6), who was a most devoted disciple and admirer, though not a pupil, of the learned master. He left many masses, motets, and _chansons_, in some of which, notably in the motet _Parce Domine_ for three voices, he attains a high degree of real expressive power. This fine work exerted a powerful influence on Josquin des Prés and reveals its creator as possibly the first composer to make polyphony bend to the necessity of musical expression as we understand it.