Josquin des Prez (] ; c. 1450/1455  – 27 August 1521), often referred to simply as Josquin, was a French composer of the Renaissance.
 His original name is sometimes given as Josquin Lebloitte and his later name is given under a wide variety of spellings in French, Italian, and Latin, including Iosquinus Pratensis and Iodocus a Prato .
 His motet "Illibata Dei virgo nutrix" includes an acrostic of his name, where he spelled it "Josquin des Prez".
 He was the most famous European composer between Guillaume Dufay and Giovanni Pierluigi da Palestrina, and is usually considered to be the central figure of the Franco-Flemish School.
 Josquin is widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime.
Missa L'homme armé sexti toni is probably the later of two "L'homme arme" masses by Josquin des Prez. "
sexti toni" refers to the use of the sixth mode.
 The theme is shared between all voices rather than being confined to the tenor, as in Josquin's earlier "L'homme armé" mass ("Missa L'homme armé super voces musicales").
 The five sections of the mass contain several examples of compositional virtuosity, including strict canons in the Sanctus/Osanna and simultaneous statements of the theme both forwards and in retrograde in the final Agnus Dei.
The Missa Pange lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1515, near the end of his life.
 Most likely his last mass, it is an extended fantasia on the "Pange Lingua" hymn, and is one of Josquin's most famous mass settings.
Nymphes des bois, also known as La Déploration de Johannes Ockeghem, is a lament composed by Josquin des Prez on the occasion of the death of his predecessor Johannes Ockeghem in February 1497.
 The piece, based on a poem by Jean Molinet and including the funeral text Requiem Aeternam as a cantus firmus, is in five voices.
 In the first of its two parts Josquin cleverly mimics the contrapuntal style of Ockeghem.
 This chanson is one of Josquin's best-known works, and often considered one of the most haunting and moving memorial works ever penned.
De arte canendi is an important musical treatise by Sebald Heyden, produced in three installments between 1532 and 1540.
 The first installment was produced in 1532 in 26 pages, the second in 1537 grew to 115 pages and the third in 1540 to 163 pages.
 The third and final edition completed in Nuremberg in 1540, is said to have "had a greater impact on modern scholarship than any other writing on mensuration and tactus from the 15th or 16th century."
 A collection of secular songs, it has been described as a "treatise on singing technique aimed at the growing number of amateur musicians who wished to improve their skills."
 In the third installment, Heyden confessed to being an admirer of Josquin des Prez and his contemporaries, transcribing Josquin's "Missa L'homme armé sexti toni" (Benedictus), amongst others.
 Notably, Heyden is said to have "adopted a "horror fusae" position at a time when Italian musicians were writing pieces "a note nere" under the signature of C."
Noel Bauldeweyn (first name also "Noe", "Natalis"; surname also "Balbun", "Balduin", "Bauldewijn", "Baulduin", "Baulduvin", and "Valdovin";<ref name="Sparks/Nelson, Grove online"> () </ref> (c. 1480 – after 1513) was a Franco-Flemish composer of the Renaissance, active in the Low Countries.
 A contemporary of Josquin des Prez, he had a strong reputation until well after the middle of the 16th century.
 That some of his works have long been misattributed to Josquin, the most renowned composer of the age, is indicative of his skill as a composer.
Antonius Divitis (also Anthonius de Rycke, and Anthoine Le Riche – "the rich") (c. 1470 – c. 1530) was a Flemish composer of the Renaissance, of the generation slightly younger than Josquin des Prez.
 He was important in the development of the parody mass.
"Ave Maria ... Virgo serena" is a motet composed by Josquin des Prez.
 It is regarded as Josquin's most famous motet and one of the most famous pieces of the 15th century.
 The piece rose to extreme popularity in the 16th century, even appearing at the head of the first volume of motets ever printed.
 Its revolutionary open style featuring early imitative counterpoint and two-voice parts has added to its acclaim as one of the most influential compositions of its time.
The Missa Sine nomine is a setting of the Ordinary of the Mass by Renaissance composer Josquin des Prez.
 It is a work of his maturity, probably dating from the period after he returned to Condé-sur-l'Escaut in 1504.
 It is one of Josquin's only masses not to be based on pre-existing material, and like the "Missa ad fugam", it is a canonic mass.
The Missa L'homme armé super voces musicales is the first of two settings of the Ordinary of the Mass by Josquin des Prez using the famous "L'homme armé" tune as their cantus firmus source material (for the other, presumed later, setting see Missa "L'homme armé" sexti toni).
 The setting is for four voices.
 It was the most famous mass Josquin composed, surviving in numerous manuscripts and print editions.
 The earliest printed collection of music devoted to a single composer, the "Misse Josquin" published by Ottaviano Petrucci in 1502, begins with this famous work.

Question: Who was born first, Antonius Divitis or Josquin des Prez?
Answer: Josquin des Prez