Modern music and musicians : [Encyclopedic] . Innsbruck,ich muss dich lassen, were openly an-nexed by Luther and the Reformed Church,and used as hymns, a proceeding akin tothat of the Salvation Army in our day. InItaly the invasion of the Netherlanders wasfollowed by the establishment of musicschools, that of Goudimel at Rome, wherePalestrina was a pupil, being the mostfamous. At Venice, Adrian Willaert is saidto have introduced antiphonal writing intoChurch music, fired thereto by the presence of two organs in St. Marks Church, ofwhich he was organist, but it is only neces-sary to glance at J
Modern music and musicians : [Encyclopedic] . Innsbruck,ich muss dich lassen, were openly an-nexed by Luther and the Reformed Church,and used as hymns, a proceeding akin tothat of the Salvation Army in our day. InItaly the invasion of the Netherlanders wasfollowed by the establishment of musicschools, that of Goudimel at Rome, wherePalestrina was a pupil, being the mostfamous. At Venice, Adrian Willaert is saidto have introduced antiphonal writing intoChurch music, fired thereto by the presence of two organs in St. Marks Church, ofwhich he was organist, but it is only neces-sary to glance at Josquins music, the AveMaria, for instance, to which reference hasalready been made, to find there the germsof antiphonal writing, as indeed of muchelse that is attributed to a later age. Thesixteenth century saw the rise of the madri-gal, which with its offshoots, the canzone,the balletto (the latter designed for danc-ing as well as singing), the villanella, andother delightful forms of unaccompaniedvocal music, speedily gained wide popular-. JOSQUIN DES PRES ity in Italy, and before the end of the cen-tury in England as well. In music of this kind we find not only themost brilliant display of technic, but anever-growing feeling for musical to this was a rudimentary taste forrealistic effects, taking form in an attemptto echo the sounds of nature and of humanlife, at first purely imitative, as in Gom-berts musical imitation of bird-calls andJannequins famous Bataille de Marig-nan, and afterward more artistic, as inLuca Marenzios lovely madrigal, Seal-da va il sol, with its chirping grasshop-pers, or his still more beautiful Strider 6 THE MUSIC OF THE PRE-CLASSICAL PERIOD faeeva, with its imitation of shepherdspipes, or the numerous cuckoo pieces byEnglish composers, in which the birds cryis used as a definite musical motive Avithadmirable effect. Experiments of this kind led naturally toinnovations in harmony, and long beforethe end of the sixteenth century compos
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