Short answers, pulled from the story.
The Franco-Flemish School began in 1384 with the personal union between the House of Valois-Burgundy and fiefs in Northern France, Belgium, and the Southern Netherlands. The style spanned five generations from 1420 to 1560, with the final group extending to 1615 or 1620.
Jean Tapissier, Guillaume Du Fay, Gilles Binchois, Antoine Busnois, Ockeghem, and Josquin des Prez led the major generations of the Franco-Flemish School. Other notable figures included Orto, Compère, Prioris, Agricola, Caron, Faugues, Regis, Tinctoris, Jean Mouton, Obrecht, de la Rue, Isaac, Brumel, Févin, Pipelare, Richafort, and Divitis.
The Franco-Flemish School originated in the Low Countries including provinces like Artois, Flanders, Brabant, Hainaut, and Limburg. Musicians trained at ecclesiastical choir schools in cities such as Saint-Quentin, Arras, Valenciennes, Douai, Bourges, Liège, Tournai, Cambrai, Mons, Antwerp, Bruges, and Ghent before spreading their techniques across Europe.
Composers between 1450 and 1520 typically wrote motets for four voices with all parts treated equally to create thick dark textures and an extended low range. Masses, motets, and hymns formed the primary output of Franco-Flemish composers who focused mainly on sacred music rather than secular compositions.
Modern musicologists debate whether terms like Franco-Flemish School or Netherlandish School accurately describe the historical reality because these labels were not in use during the actual time period they now cover. The expression remains controversial because it fails to capture the full scope of relationships between musicians who rarely shared direct teacher-student connections despite being grouped together under one designation.