The era following Josquin Desprez, as viewed by many Franco-Flemish musicians, developed both through his significant influence and fame in his later years and through historical misinterpretations. Recent research on Josquin's birthdate renders it unnecessary to classify composers like Jean Mouton or Jacobus Clemens non Papa as belonging to the same generation as Josquin. This designation is most appropriate for composers born during Josquin's lifetime but before his legendary status, who were strongly influenced by his style.
Pierre de Ronsard refers to the composer Jean Richafort as Josquin's pupil, although this claim is not substantiated elsewhere. Richafort is recognized for his close artistic connection to Josquin, evident in his mass Praeter rerum seriem and his motets, in which he incorporated musical material by Josquin. The Missa pro defunctis is stylistically associated with Richafort, with the simple melody of the cantus planus influencing the work's polyphonic structure.
In 16th-century music, we find parallels in funeral compositions by composers such as Gombert, Vinders, and Appenzeller, who were closely related to Josquin. The Phrygian mode is frequently used for laments, while the canonic structure and the use of ancient melodies in these works represent a tribute to the legendary Josquin.
The setting of Miserere mei, Deus is among Josquin's most impressive compositions and exemplifies his economical compositional style. The repeated use of a theme and the use of pure intervals create a reverent, almost meditative effect. Josquin's death in 1521 left a great void in the musical landscape of the Netherlands, where he was buried and is still revered today for his clear and beautiful compositions.