Palestrina, on the other hand, came to cultivate a freely flowing style of counterpoint in a thick, rich texture within which consonance followed dissonance on a nearly beat-by-beat basis, and suspensions ruled the day ( see counterpoint ).

When he began composing, the influence of the previous generations of Roman composers was still heavy ( for instance, the style of Palestrina ); and when his career came to a close the operatic forms, as well as the instrumental secular forms, were predominant.

Therefore Palestrina came to be named the " saviour of church polyphony ".

Many of his madrigals were monodies, borrowing a style which came from Florence and other locations to the north ; his motets and masses, on the other hand, are conservative and use the Palestrina style, though the motets include figured bass, another innovation from the first decade of the 17th century.

In force of personality, and with his central position as maestro di cappella at St. Mark's, he became the most influential musician in Europe between the death of Josquin and the time of Palestrina.

A noted musician and musicologist, Haberl was the pioneering editor of the complete works of Palestrina and Lassus.

The quarrel with the Colonnas culminated in Boniface VIII ordering the destruction in 1298 of their family city Palestrina after it surrendered peacefully under Boniface's assurances that it would be spared.

On the Feast of the Annunciation, four patriarchs, 22 cardinals and 80 bishops assembled in the Cathedral of Pisa under the presidency of Cardinal de Malesset, Bishop of Palestrina.

Felice, the elder, was born about 1560, studied under G. M. Nanino and succeeded Giovanni Pierluigi da Palestrina in 1594 as composer to the papal chapel.

Such is seen in the life of Palestrina becoming a major influence on Bach, most notably in the aforementioned Mass in B Minor.

Contemporary scholarship, while not claiming that this view was entirely false, tends to hold that it was highly exaggerated ; Palestrina was one of many skilled composers working at the time, and the influence of the Council of Trent on musical composition was more limited than at first presumed ( the composers of the Venetian School, for example, ignored it almost entirely, and Palestrina-style composers such as Lassus, working in Munich, were also quite free to write as they pleased ).

What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina.

In addition, he was an obvious influence on Palestrina, who modeled many of his early works after his.

Ingegneri was close friends with Bishop Nicolò Sfondrato, later Pope Gregory XIV, who was intimately involved with the reforms of the Counter-Reformation and the Council of Trent, and this influence is present in his music, which usually shows the simplification and clarity of the Palestrina style.

In his very last works the influence of Viadana, the popularizer of the basso continuo, is evident, but he still remained true to the Palestrina style in his melodic and harmonic writing.

Asola was a rare case of a composer working in Venice who showed almost no stylistic influence from the Venetian school ; indeed most of his works are in the Palestrina style, the idiom of the Roman School of composers.

In style, the madrigals of the 1550s varied from the conservative and elegant style of Palestrina and some of the others working in Rome, to the highly chromatic and expressive work by Lassus, Rore, and others working in the cities of northern Italy.

Even though he spent most of his life working in northern Italy, because of his stylistic similarity to Palestrina he is often considered to be a member of the Roman School of polyphonic church music.

His earlier music is mostly in the Palestrina style of balanced polyphony, though he used polychoral techniques, in keeping with northern Italian practice.

Prior to the early 16th century, most polyphonic sacred music was written by northerners, and Italians focused mainly on the lighter secular forms, and some uniquely Italian forms such as the laude spirituale ; however in the early 16th century native Italian composers such as Layolle, and later Costanzo Festa, began to blend the northern polyphonic style with the Italian harmonic and tonal idioms, a blending which eventually resulted in the musical style of Palestrina and Lassus.

He was the most famous European composer between Guillaume Dufay and Palestrina, and is usually considered to be the central figure of the Franco-Flemish School.

In 2004, Čeněk Svoboda started working with the ensemble and broadened the range of the repertoire with music of European high Renaissance ( Victoria, Palestrina, Tallis, Lassus, Gallus …) and Italian Baroque music ( Monteverdi, Lotti, Caldara, Astorga …).

However, his work for the Sistine Chapel is descended from the Palestrina style, and in some cases strips even this refined, simple style of all ornament.

The " Palestrina style " now serves as a basis for college Renaissance counterpoint classes, thanks in large part to the efforts of the 18th century composer and theorist Johann Joseph Fux, who, in a book called Gradus ad Parnassum ( Steps to Parnassus, 1725 ), set about codifying Palestrina's techniques as a pedagogical tool for students of composition.

Dissemination of chansons, motets, and masses throughout Europe coincided with the unification of polyphonic practice into the fluid style which culminated in the second half of the sixteenth century in the work of composers such as Palestrina, Lassus, and William Byrd.

Composers are routinely trained in the " Palestrina style " to this day, especially as codified by the 18c music theorist Johann Joseph Fux.

Jeppesen's name is invariably associated with the study of musical counterpoint, particularly in the style of Palestrina.

He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century ( the other two being Palestrina and Victoria ).

Pitoni ’ s early works are brilliant examples of his genius in the Roman contrapuntal style of Palestrina.

The parody mass was a very popular model during the Renaissance: Palestrina alone wrote some 50-odd examples, and by the first half of the 16th century this style was the dominant form.

He may have studied with Palestrina around this time, though the evidence is circumstantial ; certainly he was influenced by the Italian's style.

He was a skilled representative of the late Italian madrigal style, along with Palestrina, Wert, Monte, Lassus, Marenzio, Gesualdo and others.

He was one of the most famous and influential composers between Josquin des Prez and Palestrina, and best represents the fully developed, complex polyphonic style of this period in music history.

It is important to recognize, though, that the " Palestrina style " was not the only polyphonic style of the time, though it may have been the most internally consistent.

The polyphonic style of Palestrina may have been the culmination of a hundred years of development of the Franco-Netherlandish style, but it was one of many streams in the late 16th century, and significantly contrasts with the music of the Venetian school to the north, as well as the music being produced in France and England at the same time.

Crecquillon's music was highly regarded by his contemporaries, and shows a harmonic and melodic smoothness which prefigures the culminating polyphonic style of Palestrina.

Lobo sought out a medium between the emotional intensity of Victoria and the technical ability of Palestrina ; the solution he found became the foundation of the baroque musical style in Spain.

Anerio was a conservative composer, who largely used the style of Palestrina as a starting point, at least after his youthful period of writing secular works, such as madrigals and canzonettas, was done.

20th and 21st century scholarship by and large retains the view that Palestrina was a strong and refined composer whose music represents a summit of technical perfection, while emphasizing that some of his contemporaries possessed equally individual voices even within the confines of " smooth polyphony.

In the early 16th century, there is another trend towards simplification, as can be seen to some degree in the work of Josquin des Prez and his contemporaries in the Franco-Flemish School, then later in that of G. P. Palestrina, who was partially reacting to the strictures of the Council of Trent, which discouraged excessively complex polyphony as inhibiting understanding the text.

Some of the better-known composers of this time include Dufay, Josquin des Prez, Giovanni Pierluigi da Palestrina, and William Byrd ; the glories of Renaissance polyphony were choral, sung by choirs of great skill and distinction all over Europe.

Palestrina ’ s Missa Papae Marcelli ( Mass for Pope Marcellus ) was performed before the Council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy.

Until approximately 1800, it was possible to hear Gregorian Chant and Renaissance polyphony, such as the music of Palestrina, Lassus, Anerio, and others.

Its calls for the Church's music to return to the twin bases of Gregorian chant and the polyphony of Palestrina were a direct threat to both the repertoire and the practice of the Sistine Chapel.

Donato's sacred music is the most conservative portion of his output, usually using polyphony in the Palestrina style, but also using some of the grand polychoral effects of the Gabrielis.