As a result of the lack of any stimulus from Greek sources for music, the first development of it at this time is noted not in Italy, as is true for other modes of aesthetic evolution because of contiguity to Greece, but, on the contrary, in the distant West of Europe and especially in the Netherlands. Henderson, in his "The Story of Music," declares that "all the countries at this time took Netherlandish masters," and one finds the names of distinguished teachers of music, who were from the Low Countries, in centres so far apart as Naples, Venice, Munich and Madrid. The first of these, who was an extremely important factor in the music of the time, was Ockeghem, or Ockenheim, of Hainault, who, in the latter half of the fifteenth century, came to be looked upon as probably the greatest teacher of the time. He is surpassed in fame by his pupil, Josse Despres, usually known by the name, familiarly used among his friends, Josquin, who is also a native of Hainault. Henderson declares that "in technical skill no master has ever surpassed Ockeghem; and all that he knew he taught Josquin, who made it the outlet for his real musical genius." Luther said of him, "They sing {136} only Josquin in Italy; Josquin alone in France; only Josquin in Germany; in Flanders, in Hungary, in Bohemia, in Spain, it is always only Josquin." From this testimony, and the otherwise well-known popularity of this composer's music, it is probable that there has never been a great European musician who, in his own time, has gained more universal acclaim among music-lovers than Josquin. There is no doubt at all of the merit of his work. Arcadelt, who was Palestrina's teacher at Rome and himself a distinguished musician of this time, said of him: "Other composers make their music where their notes take them, but Josquin takes his music where he wills." Arcadelt's musical ability is recognized; an Ave Maria by him is still often sung. Other countries were not without an important development in music at this time. England had been the leader in musical composition and evolution before Flanders had her turn. In the thirteenth and fourteenth centuries England had developed part singing and also laid the foundations of counterpoint. In the fifteenth century musical composition and erudition came to be considered of so much importance that academic honors were conferred on musicians. John Hamboys, the author of some treatises on the art of music, is said to be the first on whom the degree of Doctor of Music was ever conferred. In 1463, according to the records, the University of Cambridge conferred the degree of Doctor of Music on Thomas Seynt Just and the degree of Bachelor of Music on Henry Habyngton. During the following century it was required that candidates for the degree of Musical Doctor should present an original musical composition. America has followed England in the granting of academic degrees for music, though I believe no other country has done so except Ireland.