After the 14th century, due to the awakening of the civil class, the Art Nouveau era of early Renaissance music style was formed centered in Florence, laying the foundation for secular two-part and three-part lyric songs. (such as madrigals, barata), folk songs (such as hunting songs) and the basis of the prosperity of instrumental music. The largest composer at that time was the Florentine organist and blind musician F. Landini. At this time, quantitative notation had been spread. . Only thirds and sixths are recognized in music creation, and parallel fifths and octaves are prohibited; emotional polyphonic music is closely combined with poetry, and the balata has a three-section structure. The song is in canon form. At this time, professional music schools were born, and music theory was developed. For example, the Venetian G. Zalino was a famous music theorist at the time. At the end of the 15th century, there was a new secular song genre "Froto". During the prosperous period of "La", "Villanella" similar to it was produced in the mid-16th century. These songs are of great significance in establishing the harmonious main-key music. Most of their authors come from the civil class, and their creations reflect the The humanistic worldview.

Italian music in the 16th century was further developed by the Flemish composer A. Villarte who settled in Venice. He was the originator of the Venetian music school and a leader in duet and instrumental music. The founder of Cerka (the predecessor of fugue), Villarte and his disciples combined "Frottola" with the polyphonic techniques of the Flemish school to create new Venetian music. The contribution of party madrigal had a great influence on the later creations of L. Marenzio, C. Gesualdo and C. Monteverdi. These three musicians completed the final stage of the development of madrigal (at the end of the 16th century). to the beginning of the 17th century). The theme of the pastoral is mainly about love life, but dramatic elements have already appeared in Gesualdo's pastoral, and the dramatic elements in Monteverdi's pastoral have been further strengthened and added. Instrumental accompaniment. In the above-mentioned development process, they generally used Aeolian mode and Ionian mode, so that the status of major scale and minor scale was greatly strengthened.

Following Vera. After Walter, A. Gabrieli and his nephew G. Gabrieli developed the unique style of the Venetian school: sharp changes in dynamics, extensive use of decorative techniques, and contrast between chorus and instrumental ensemble (organ, band ensemble). At this time, keyboard instruments, string instruments, and wind instruments were constantly undergoing reforms, and three reformers of various musical instruments appeared, N. Amati, A. Stradivari, and G. Guarneri, who achieved great success in violin manufacturing technology. A perfect situation. O. Petrucci (1466 ~ 1539) invented the new musical notation method, which promoted the spread of music. New instrumental music genres such as Toccata and Fantasia appeared one after another; the further development of dance music genres created the basis for future suites. Conditions.

On the other hand, the Roman music school, headed by the composer G.P. da Palestrina, developed a cappella polyphonic chorus of Catholic religious music, which he simplified to make the lyrics clear. The polyphony was improved, making it closer to the chord-based writing method established in secular music during the Renaissance. His exemplary choral works are particularly pure, clear, tranquil and serene.

At the end of the 16th century, there was a movement to combine drama and music in Tuscany, Ferrara and Florence. It was also a process of transition from polyphonic music to tonal music. In Florence, the "Florence Partners" art group headed by the theorist V. Galilei demanded the revival of ancient Greek tragedy and the overriding traditional influence of Dutch polyphony, establishing the original opera form of narrative style. . Its representative composers are J. Perry, G. Caccini and E. de Cavalieri. Indoor cantata was developed in Florence, Venice, Rome, Bologna and other places based on pastoral, and reached its perfect form in the creation of A. Scarlatti. The church cantata evolved from the motet. The germ of the oratorio emerged from "Lauda" by F. Neri (1515-1595), and was further developed in the creation of G. Karisimi. With the popularity of opera, an opera house for public performances was opened in Venice in 1637. Monteverdi is Venice's leading opera writer. He combines expressive recitations, cantabile arias, and broad choruses to form a new opera style called "impassioned".