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His chansons are admired for their fresh, straightforward quality.
Melodic imitation is more frequent in the chansons, and the rhythms of the chansons are more straightforward than those of the masses.
Though a few chansons are set chordally rather than polyphonically, a number of others are skilled examples of counterpoint in five or six voices, maintaining sharp rhythms, straightforwardness, and clarity of texture.
Together, the chansons are known as the crusade cycle.
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His motets and chansons were included in other Petrucci publications, from the Odhecaton (an anthology of popular chansons) of 1501 onward, and in collections of other printers.
His music, especially that of his chansons, was widely known and has been shown to be the basis of works by other composers.
Debussy, in his "Trois Chansons," and Poulenc, in his exquisitely moody "Sept Chansons," were concerned mainly with the emotional essence of the poetry they set, or at least with conveying that essence as it resonated with their own emotions.
Some of his chansons were doubtless designed to be performed instrumentally.
Josquin's earliest chansons were probably composed in northern Europe, under the influence of composers such as Ockeghem and Busnois.
They are even simpler in texture than his French chansons, being almost uniformly syllabic and homophonic, and they remain among the most frequently sung portions of his output.
Problems of attribution are even more acute with the chansons than they are with other portions of his output: while about 70 three and four-voice chansons were published under his name during his lifetime, only six of the more than thirty five- and six-voice chansons attributed to him were circulated under his name during the same time.
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