Later we find some of the famous masters cultivating this music of the people.

Adrian Willaert, who settled in Venice in 1516, wrote frottole and gondola songs in frottola form.

It was from such works that he advanced to the composition of the madrigal of which he was so famous a composer and which he raised to the dignity of an art work.
The residence of Josquin des Pres in Italy doubtless had an immense influence on the development of the Italian madrigal, but at a period later than that of Poliziano's "Orfeo" and of the best of the frottole.
Josquin was a singer in the Sistine Chapel in 1484 and his first successes as a composer were obtained in Rome.

Later he went to Ferrara where he wrote for the Duke Ercole d'Este his famous mass, "Hercules Dux Ferrariae." But these activities of Josquin had little relation to the frottola.
The point to be made here is that, at the time when Poliziano's "Orfeo" was produced at Mantua, the Italian madrigal was in its infancy, while its plebian parent, the frottola was in the lusty vigor of its maturity.
At the same time the popularity of part song was established in Italy and music of this type was employed even for the most convivial occasions.

This is proved by the position which the variety of frottola, called "carnival song," occupied in the joyous festivities of the Italians.