His early style is indebted to Cipriano de Rore, and his madrigals are representative of mid-century trends.

Rore was one of the most influential composers in the middle of the sixteenth century, mainly through the dissemination of his madrigals.

Rore wrote 107 madrigals that are securely attributed to him ; 16 secular Latin compositions, similar in form to madrigals ; at least seven chansons ; 53 motets, of which 51 survive ; a Passion according to Saint John ; five settings of the mass ; some Magnificats ; and a handful of other works.

While Rore is best known for his Italian madrigals, he was also a prolific composer of sacred music, both masses and motets.

It was as a composer of madrigals, however, that Rore achieved enduring fame.

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.

Relations between the Gonzaga and Este families were close, and in the early 1550s Wert traveled at least once to Mantua and Ferrara, centers of musical activity in the late sixteenth century, where he met the renowned madrigalist Cipriano de Rore, who was the most influential figure on his early musical style.

Rore then went to Ferrara, where payment records show he was maestro di cappella ( choirmaster ) beginning on 6 May 1546.

Some famous names of the period, besides Rore, are Palestrina, who wrote some secular music early in his career ; the young Orlande de Lassus, who wrote many well-known examples, including the highly experimental and chromatic Prophetiae Sibyllarum, and who, on moving to Munich in 1556, began the history of madrigal composition outside of Italy ; and Philippe de Monte, the most prolific of all madrigal composers, whose first publication dates from 1554.

In 1565, on the resignation of Cipriano de Rore, Zarlino took over the post of maestro di cappella of St. Mark's, one of the most prestigious musical positions in Italy, and held it until his death.

Merulo died in Parma on 4 May 1604 and was buried in Parma Cathedral near to the tomb of Cipriano de Rore.

The major influences on Guami's sacred music style are from Willaert, his teacher at St. Mark's, and Cipriano de Rore, and later from Lassus ; indeed the two composers may have been friends since they served together in Munich and evidently traveled together.

Among his disciples were Cipriano de Rore, his successor at St. Mark's ; Costanzo Porta ; the Ferrarese Francesco Viola ; Gioseffo Zarlino ; and Andrea Gabrieli.

Wert's early style was heavily influenced by Cipriano de Rore, the renowned mid-century madrigalist active at Ferrara.

Wert's style at mid-career began to change away from the Rore manner towards one more closely aligned with the Venetians, such as Andrea Gabrieli.

Recent research has established that his parents were Celestinus Rore ( died before 1564 ) and Barbara van Coppenolle, and he had at least two siblings, Franciscus and Celestinus.

Adrian Willaert and his associates at St. Mark's – younger men such as Girolamo Parabosco, Jacques Buus, Baldassare Donato, Perissone Cambio, and Cipriano de Rore – were the primary representatives of madrigal composition at mid-century.

Not much is known about his early life, but he probably had family from Venice, and he likely studied with Cipriano de Rore at Parma, and Vincenzo Ruffo at Verona.

When Gioseffo Zarlino took over the post of maestro di cappella from Cipriano de Rore in 1565, Donato was demoted back to being a singer ; conflict between the two men seems to have been a feature of life at St. Mark's, culminating in a climactic fight in 1569, publicly and scandalously, during the Feast of St. Mark.

Also during the Ferrara years, Rore began cultivating his relations with the court of Albrecht V of Bavaria in Munich, sending them music, and having 26 motets produced in an elaborately illustrated manuscript with miniatures by Hans Müelich.

The town was ruled from the " Rore " tower, which has been incorporated into the modern city hall.

The " Schlössli " ( small Castle ), Rore Tower and the upper gate tower have remained nearly unchanged since the 13th century.

City hall was built around Rore Tower in 1515.

Adrian Willaert, Ludwig Senfl, and Cipriano de Rore were among the most prominent composers of ceremonial motets during the first half of the 16th century.

* September 20 – Cypriano de Rore, Flemish composer and teacher ( b. 1515 )

** Cipriano de Rore, Flemish composer and teacher ( d. 1565 )

In the 16th century, settings like these, and further developments, were created for the Catholic Church by Victoria, William Byrd, Jacobus Gallus, Francisco Guerrero, Orlando di Lasso, and Cypriano de Rore.

Machelen may have been the birthplace of composer Cypriano de Rore.

The lakes Syndle and Rore are found in the northern part of the municipality.

* The Fourth generation ( 1520-1560 ): Gombert, Crecquillon, Manchicourt, Arcadelt, Rore, Willaert and Clemens non Papa.

De Rore, Zarlino, Andrea Gabrieli, Donato, and Croce, Willaert's successors, all cultivated this style.

Willaert, with the help of De Rore, standardized a five-voice setting in madrigal composition.

Among Willaert's pupils in Venice, one of the most prominent was his fellow northerner Cipriano de Rore.

Cipriano de Rore ( occasionally Cypriano ) ( 1515 or 1516 – between 11 and 20 September 1565 ) was a Franco-Flemish composer of the Renaissance, active in Italy.

Prior to that speculative trip Rore may have had some early music instruction in Antwerp.

When Margaret married Alessandro de ' Medici in 1536, Rore may have gone his own way ; however, he is believed to have received some of his music education in Italy during his period of service with Margaret.

In 1556 Duke Ercole awarded Rore a benefice for his exceptional service.

Examples of purely Coptic literature are the works of Saint Anthony and Saint Pachomius, who only spoke Coptic, and the sermons and preachings of Saint Shenouda the Archmandrite, who chose to only write in Coptic.

Jordan claims that Wollheim's first, ' laudatory ' letter convinced him that he could write, and so he chose to remember the first letter and forget about the second.

He chose to write in Greek and Latin, the languages of scholars.

He continued by discussing the preface: " despite its obvious undependability as a guide to the actual process of the poem's composition, the preface can still, in Wheeler's words, lead us ' to ponder why Coleridge chose to write a preface ... ' What the preface describes, of course, is not the actual process by which the poem came into being, but an analogue of poetic creation as logos, a divine ' decree ' or fiat which transforms the Word into the world.

Yet many of the major German composers of the time, including Handel himself, as well as Graun, Hasse and later Gluck, chose to write most of their operas in foreign languages, especially Italian.

Examples of purely Coptic literature are the works of Abba Antonius and Abba Pachomius, who spoke only Coptic, and the sermons and preachings of Abba Shenouda, who chose to write only in Coptic.

Piccolomini published it under the name of scribe Gobellinus, who was then misattributed as the author, a natural mistake because Pius II chose to write Commentaries from the third-person perspective.

Darwin wrote to Lyell that " your words have come true with a vengeance, ... forestalled " and he would " of course, at once write and offer to send to any journal " that Wallace chose, adding that " all my originality, whatever it may amount to, will be smashed ".

Verdi originally chose not to write an overture for the opera, but merely a brief orchestral prelude.

Although the book is an autobiography, Goodyear chose to write it in the third person, so that " the inventor " and " he " referred to in the text are the author.

For the 1996 Star Wars novel Shadows of the Empire ( written by author Steve Perry ), Lucasfilm chose Joel McNeely to write a score.

Of those that stayed, many chose to write in secret and remain unpublished ( the surrealists ( Zbyněk Havlíček, Karel Hynek ), Holan, Zahradníček, Jiří Kolář, Josef Jedlička, Jan Hanč, Jiřina Hauková, Josef Škvorecký, Egon Bondy, Jan Zábrana, Bohumil Hrabal ).

Although she sometimes chose to write poems that do not rhyme ( especially in her later period ), she always respected questions of rhythm ; moreover, in her " antique " works ( e. g., the set of love poems The Sonnets of Therese du Meun, a false document about the love-longings of a married French noblewoman for a young tutor ), Goldberg adopted complex rhyming schemes.

They chose not to write their pieces using conventional chord changes, but instead using modal scales.

It was then demonstrated by having a woman hooked up to a polygraph, having her write a number from 1-10 on a piece of paper ( she chose 7 ), deny that she chose each number as asked by the examiner but tighten up her anal sphincter on the number 6.

According to an anonymous biographer of Aeschylus, the Athenians chose Simonides ahead of Aeschylus to be the author of an epigram honouring their war-dead at Marathon, which led the tragedian ( who had fought at the battle and whose brother had died there ) to withdraw sulking to the court of Hieron of Syracuse — the story is probably based on the inventions of comic dramatists but it is likely that Simonides did in fact write some kind of commemorative verses for the Athenian victory at Marathon.

He was an admirer of Richard Wagner, and like him chose to write his own libretto, something which was virtually unheard of in Italian opera up to that time.

Barks came out of retirement to provide a script for this story and he chose William Van Horn to write this story for him.

She chose to write Richard's character in such a way after becoming fascinated with his story and researching his life, both in the United States and in the United Kingdom, which led her to believe that " his was a classic case of history being rewritten by the victor.

He chose to write about Vicksburg and mentioned many local citizens and establishments in his article.

She chose to write on the dissident journalists involved in Poland's Solidarity movement, then in its infancy but gaining international attention.

His first language had been Welsh but he chose to write in English.

Rubinstein chose to write in an early-Romantic Germanic style and did not exploit the native characteristics of Russian music in his work.

In the wake of the work's failure he chose not to write for the theatre for another decade.