Canon and Imitation

Abstract Early imitation is seen mainly in the work of Hugo de Lantins and occasional early works of Dufay. It comes fully into its own with Caron (Cent mille escus) and Ockeghem (Les desleaulx ont la saison). Further characteristic examples appear in the work of Agricola and particularly Compere, who in light of the new chronology for Josquin now stands clearly as the initiator of the full imitative style. The chapter ends with a discussion of imitation in the early works (not just songs) of Josquin and how he explored canonic techniques in his years at René of Anjou’s court in Provence.