1.William Byrd is perhaps the greatest English composer of all time. With hundreds of individual works, Byrd seemingly mastered every style of music that existed during his lifetime, outshining Orlando de Lassus and Giovanni Palestrina. He was a pupil working under Thomas Tallis, also on this list. Apart from his choral works, Byrd is considered by many to be the first "genius" of the keyboard. Many of his piano works can be found in "My Ladye Nevells Book" and the "Parthenia."
2.Four of the most important composers from the Medieval Period were Hildegard von Bingen, Leonin, Perotin, and Guillaume de Machaut.
3.Claudio Monteverdi (1567–1643):
A student of Marc’Antonio Ingegneri in Cremona, Claudio Monteverdi quickly established himself as one of the most significant composers of his time. In 1592 he was appointed suonatore di vivuola (viol and/or violin player) to Duke Vincenzo I of Mantua; his third book of madrigals, published in 1592, shows the strong influence of Giaches de Wert, the maestro di cappella in Mantua. Although the several journeys Monteverdi made with the duke in the 1590s seem to suggest that his importance at court was growing, Benedetto Pallavicino was offered de Wert’s post upon its vacancy in 1596. Increasingly dissatisfied with the his situation in Mantua, Monteverdi left the court after the Duke’s death, accepting the position of maestro di cappella of St. Mark’s in Venice in 1613. Monteverdi wrote some of the most influential compositions of the early baroque, including the famous 1610 Vespro della Beate Vergine (Vespers of the Blessed Virgin) and nine books of secular madrigals published between 1587 and 1651. Monteverdi also composed the earliest operas still performed today, including Orfeo (1607) and L'incoronazione di Poppea.
In addition to writing some of the most important music of his day, Monteverdi unwittingly elucidated perhaps the most critical tenet of the baroque era during the so-called “Monteverdi-Artusi controversy.” In 1600, Giovanni Maria Artusi published his L'Artusi, ovvero, Delle imperfezioni della moderna musica, which attacked the “crudities” and “license” of some of Monteverdi’s then-unpublished madrigals (including the well known “Cruda Amarilli”). Monteverdi responded to Artusi in the preface to his Fifth Book of Madrigals (1605), dividing musical practice into prima prattica (first practice), in which rules of harmony and counterpoint took precedence over the text, and seconda prattica (second practice), in which the meaning of the words drove the harmony.
No, they are the super composers of the Medieval Period! Revel in the visionary melodies of Visionista, the alter ego of Hildegard von