It is not necessary here to enter into a detailed account of the growth of musical expression.

Every student of the history of the art knows that many centuries were required to build up a technical praxis sufficient to enable composers to shape compositions in such a large form as the Roman Catholic mass.
When the basic laws of contrapuntal technic had been codified, Josquin des Pres led the way to the production of music possessing a beauty purely musical.

Then followed the next logical step, namely, the attempt to imitate externals.

Such pieces as Jannequin's "Chant des Oiseaux" and Gombert's "Chasse du Lievre" are examples of what was achieved in this direction.

Finally, Palestrina demonstrated the scope of polyphonic music in the expression of religious emotions at times bordering upon the dramatic in their poignancy.
We cannot well doubt that the Italians of the late sixteenth century felt the failure of their secular music to meet the demands of secular poetry as religious music was meeting those of the canticles of the church.