Editing Renaissance music (section)

==Late period (1530–1600)==
[[Image:San Marco (evening view).jpg|thumb|300px|left|San Marco in the evening. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.]]
In [[Venice]], from about 1530 until around 1600, an impressive polychoral style developed, which gave Europe some of the grandest, most sonorous music composed up until that time, with multiple choirs of singers, brass and strings in different spatial locations in the Basilica [[San Marco di Venezia]] (see [[Venetian School (music)|Venetian School]]). These multiple revolutions spread over Europe in the next several decades, beginning in Germany and then moving to Spain, France, and England somewhat later, demarcating the beginning of what we now know as the [[Baroque music|Baroque]] musical era.

The [[Roman School]] was a group of composers of predominantly church music in Rome, spanning the late Renaissance and early Baroque eras. Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina. While best known as a prolific composer of masses and motets, he was also an important madrigalist. His ability to bring together the functional needs of the Catholic Church with the prevailing musical styles during the [[Counter-Reformation]] period gave him his enduring fame.{{sfn|Lockwood, O'Regan, and Owens|n.d.}}

The brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them, is known as the [[English Madrigal School]]. The English madrigals were a cappella, predominantly light in style, and generally began as either copies or direct translations of Italian models. Most were for three to six voices.

''[[Musica reservata]]'' is either a style or a performance practice in a cappella vocal music of the latter half of the 16th century, mainly in Italy and southern Germany, involving refinement, exclusivity, and intense emotional expression of sung text.<ref>{{Cite journal |last=Clark |first=Willene |date=1957 |title=A Contribution to Sources of Musica reservata |url=https://www.jstor.org/stable/3686320 |journal=Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap |volume=11 |issue=1/2 |pages=27–33 |doi=10.2307/3686320 |jstor=3686320 |issn=0771-6788}}</ref>

The cultivation of European music in the Americas began in the 16th century soon after the arrival of the Spanish, and the conquest of Mexico. Although fashioned in European style, uniquely Mexican hybrid works based on native Mexican language and European musical practice appeared very early. Musical practices in New Spain continually coincided with European tendencies throughout the subsequent Baroque and Classical music periods. Among these New World composers were [[Hernando Franco]], [[Antonio de Salazar (composer)|Antonio de Salazar]], and [[Manuel de Zumaya]].{{Citation needed|date=August 2016}}

In addition, writers since 1932 have observed what they call a ''[[seconda pratica|seconda prattica]]'' (an innovative practice involving monodic style and freedom in treatment of dissonance, both justified by the expressive setting of texts) during the late 16th and early 17th centuries.{{sfn|Anon.|2017}}

===Mannerism===
In the late 16th century, as the Renaissance era closed, an extremely [[Mannerism|manneristic]] style developed. In secular music, especially in the [[madrigal (music)|madrigal]], there was a trend towards complexity and even extreme chromaticism (as exemplified in madrigals of [[Luzzasco Luzzaschi|Luzzaschi]], [[Luca Marenzio|Marenzio]], and [[Carlo Gesualdo|Gesualdo]]). The term ''mannerism'' derives from art history.

===Transition to the Baroque===
{{see also|Transition from Renaissance to Baroque in instrumental music}}
Beginning in [[Florence]], there was an attempt to revive the dramatic and musical forms of Ancient Greece, through the means of [[monody]], a form of declaimed music over a simple accompaniment; a more extreme contrast with the preceding polyphonic style would be hard to find; this was also, at least at the outset, a secular trend. These musicians were known as the [[Florentine Camerata]].

We have already noted some of the musical developments that helped to usher in the [[Baroque music|Baroque]], but for further explanation of this transition, see [[antiphon]], [[concertato]], [[monody]], [[madrigal (music)|madrigal]], and opera, as well as the works given under "Sources and further reading."