Josquin's chanson was used as the basis for works by a number of other composers, including a version by Heinrich Isaac, and the five-voice chanson "Vous seulement" by Simon Moreau.
Cholji (ref. 1) lists five chanson settings, including those by Alexander Agricola and Loyset Compere, and five mass settings, including that by Josquin
Amongst other reworkings are a four-part version by Josquin and two 3-part versions by Alexander Agricola.
Many versions of the chanson were produced including those by Ockeghem, Josquin, Pipelare, Verbonnet, Obrecht, Pirson, Brumel and Agricola.
Amongst the more well-known versions of the song are the 3-voice version by Busnois, its reworking for 6 voices by Alexander Agricola, a 3-part instrumental version possibly by Josquin, and a 3-voice version by Heinrich Isaac.
This massive work includes writings on philosophy and biography in addition to music theory, and includes no less than 120 complete compositions by composers of the preceding generation (including Josquin, Ockeghem, Obrecht, Isaac and many others).
Another composer who used a similar allusive technique was Lupus Hellinck, who wrote at least three compositions inspired by Savonarola, including two Miserere settings, both of which allude to the Josquin version, and one of which was itself used by French Protestant composer Claude Le Jeune for his own direct setting of Savonarola's other prison meditation, Tristitia obsedit me.
The Missa Fors seulement is built on the chansons by Antoine de Févin and Matthaeus Pipelare; the Missa Fit porta Christi pervia is based on a plainchant cantus firmus; the Missa Myns liefkens bruyn ooghen uses as its source a secular song in Dutch, by Benedictus Appenzeller; and the Missa Stabat mater uses the motet by Josquin, a composer he evidently admired.
Josquin went directly from Ferrara to his home region of Condé-sur-l'Escaut, southeast of Lille on the present-day border between Belgium and France, becoming provost of the collegiate church of Notre-Dame on 3 May 1504, a large musical establishment that he headed for the rest of his life.
His repertory was pioneering: he included choral music from before Palestrina––especially that of Josquin––while also promoting new music (for instance, he directed the Palestrina Choir's performance of Stravinsky's Symphony of Psalms in 1932, to great success––and praises from Stravinsky).
It was not formally published until 1539 (by Hans Ott, in Nuremberg), although manuscript sources dating from Josquin's lifetime contain the work.
Josquin's method was imitated by several of his contemporaries and successors, including Adrian Willaert and Costanzo Festa (see the article on Soggetto cavato).
Building on Josquin's treatment of the hymn's third line in the Kyrie of the Missa Pange Lingua, the "Do-Re-Fa-Mi-Re-Do"-theme became one of the most famous in music history, used to this day in even non-religious works such as Wii Sports Resort.
He claimed in his Toscanello in musica (1523) that he had been friends with Obrecht, Josquin, and Heinrich Isaac in Florence If true, the time frame would have been most likely in 1487 (Bergquist 1964, 24).
It has been set to music by a number of composers, especially during the Renaissance, including Dufay, Josquin, Willaert, Palestrina, John Dunstaple, Lassus, Victoria, and Byrd.