<P> The Pope Marcellus Mass, in short, was not important in its own day and did not help save church polyphony . What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina . Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music . </P> <P> Like his contemporary Palestrina, the Flemish composer Jacobus de Kerle (1531 / 32--1591) was also credited with giving a model of composition for the Council of Trent . His composition in four - parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal ." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council . Another musical giant on equal standing with Palestrina, Orlando di Lasso (1530 / 32--1594) was an important figure in music history though less of a purist than Palestrina . He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses ." </P> <P> Despite the dearth of edicts from the council regarding polyphony and textual clarity, the reforms that followed from the 22nd session filled in the gaps left by the council in stylistic areas . In the 24th session the council gave authority to "Provincial Synods" to discern provisions for church music . The decision to leave practical application and stylistic matters to local ecclesiastical leaders was important in shaping the future of Catholic church music . It was left then up to the local church leaders and church musicians to find proper application for the council's decrees . </P> <P> Though originally theological and directed towards the attitudes of the musicians, the council's decrees came to be thought of by church musicians as a pronouncement on proper musical styles . This understanding was most likely spread through musicians who sought to implement the council's declarations but did not read the official Tridentine pronouncements . Church musicians were probably influenced by order from their ecclesiastical patrons . Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art . </P>

Which composer responded to the reforms of the council of trent