 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.While in Milan, Josquin wrote several examples of a new type of piece developed by the composers there, the motet-chanson.These compositions were texturally very similar to 15th century chansons in the "formes fixes" mold, except that unlike those completely secular works, they contained a chant-derived Latin cantus-firmus in the lowest of the three voices.