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.

Palestrina came of age as a musician under the influence of the northern European style of polyphony, which owed its dominance in Italy primarily to two influential Franco-Flemish composers, Guillaume Dufay and Josquin des Prez, who had spent significant portions of their careers there.

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.

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 ).

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.

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.

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.

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.

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.

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.

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.

His great contribution, however, together with Christian Ignatius Latrobe, lay in the introduction to England of unknown compositions by the great masters, such as the Masses of Haydn and Mozart, the works of Palestrina, the treasures of the Fitzwilliam Museum, and innumerable, now well known great compositions.

To the east is an apsidal hall, often identified with the temple itself, in which was found the famous mosaic with scenes from the Nile, relaid in the Palazzo Barberini-Colonna in Palestrina on the uppermost terrace ( now a National Museum ).

The widespread claim that he taught Palestrina is now regarded as untenable.

In 1939, these were joined by a Pietà discovered in the Barberini chapel in Palestrina, though experts now consider its attribution to Michelangelo to be dubious.

The family is now represented by Benedetto Francesco Barberini, Prince of Palestrina ( born 1961 ), whose heir is his eldest son.

For example, his Mughal manuscript the Emperor Akbar ’ s Khamsa of Nizami is now in the British Library and " Palestrina " by J. M. W. Turner is in the National Gallery.

* José Saraiva Martins, Cardinal Bishop of Palestrina, Prefect Emeritus of the Congregation for the Causes of Saints

* Renaissance composer Giovanni Pierluigi da Palestrina used Song of Songs as the text setting for his Fourth Book of Motets in Five Voices.

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 ).

In 1673 as maestro for the cathedral at Assisi he began intensive study of the works of Palestrina, and in 1676 moved to the cathedral at Rieti.

In addition he held a series of prestigious positions as maestro for Basilica dei Santi Apostoli, Rome ( from 1686 ), at St. John Lateran ( from 1708, where Palestrina had served from 1555 to 1560 ), and for the Cappella Giulia at St. Peter ’ s ( from 1719, immediately following Domenico Scarlatti ), and maestro di cappella at the Collegium Germanicum in Rome.

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.

Palestrina ’ s “ Missa Papae Marcelli ” was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.

Pope Pius IV upon hearing Palestrina ’ s music would make Palestrina, by Papal Brief, the model for future generation of Catholic composers of sacred music.

Like his contemporary Palestrina, the Flemish composer Jacobus de Kerle ( 1531 / 32 – 1591 ) was also credited with giving a model of composition for the Council of Trent.

In 1962, Pope John XXIII in his decree Suburbicarii Sedis turned the Cardinal bishops into mere titular bishops and appointed diocesan bishops for Velletri-Segni, Porto-Santa-Rufina, Frascati, Palestrina, Albano and Sabina.

* Giovanni Pierluigi da Palestrina – famous mostly for his sacred music, he also wrote at least 140 secular madrigals.

His melodic writing and use of dissonance is more free than that of Palestrina ; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths ( for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre ).

The choir's recordings include two discs of Palestrina on the Hyperion label – the Missa Hodie Christus Natus Est with motets for Advent and Christmas, and the Missa Dum Complerentur with Pentecost motets and plainchant.

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.

His major opera Palestrina ( 1917 ) makes the case for tradition and inspiration rather than musical modernism.

The directions for rendering polyphonic music are of the highest value, especially the Palestrina illustrations.

Pope Boniface VIII absolved him from censures for his actions in those wars, and employed him against Palestrina and the Colonna.

Stylistically, his music has much in common with other middle Renaissance work of the Iberian peninsula, for example a preference for harmony heard as functional by the modern ear ( root motions of fourths or fifths being somewhat more common than in, for example, Gombert or Palestrina ), and a free use of harmonic cross-relations rather like one hears in English music of the time, for example in Thomas Tallis.