Musicians pay special attention to the expression of poetry and prose when creating pastoral songs, so the relationship between poets and musicians, poetry and music has formed mutual assistance and infiltration, which is reflected in the strengthening of "expressiveness" in music. Especially in the second half of16th century, pastoral music developed to descriptive and dramatic effects, and the ideal music of humanists was gradually realized in pastoral music, which eventually led to the birth of opera.

The development of pastoral is divided into three periods: early, middle and late, which lasted about a century. The whole formation process of the pastoral school can be said to be manifested in the creative achievements of the Dutch masters with strong Italian colors. The first collection of pastoral songs published by 1533 included many works created by Dutch composers, who kept the writing style of combining Italian style with Dutch tradition, mainly including Verdelo, Akkad and Vielard. Except for festa, it seems that the Italians did not participate in the development of the countryside at first. Wildero's Pastoral is sensitive to the pure style of music and has the charm of recitation. He tries to make music express the inner meaning of poetry. Akkad is a lyrical musician with strong expressive force. He was especially admired by the late pastoral master Monteverdi, and also undertook the work of re-editing Akkad's pastoral works. Akkade's pastoral pays attention to melody and highlights the clear texture structure; Vielard is an important Flemish composer after Jospin and before Lasso. His works reflect the unique inclusiveness and diversity of Renaissance art. In pastoral music, Viyralt shows lightness and elegance with certain musical intuition. He is sensitive to the relationship between lyrics and songs. "He paid special attention to expressing the stress of the lyrics, and was the first person to insist on accurately printing the syllables of the lyrics under the notes on the music score." He made a new exploration of the expressive force of music.

Early pastoral songs usually have four parts, sometimes three parts, which are more flexible in style than classical songs. According to the content of the poem, there will be rhythmic changes and more distinctive paragraphs in the work to emphasize the meaning of the words. For example, when the sky and mountains are mentioned, the melody will go up, while when the land or hell is mentioned, the melody will go down, and words such as stop, unchanged or continuous will be expressed in a fixed melody form, and so on. Such symbolism has been used in music and poetry before or after this, but especially in pastoral music, we can see its new inspiration. Symbolism is no longer the transformation of ideas, but the creation of an atmosphere, a state of mind or a scene through sound. At this point, pastoral composers and impressionist musicians at the end of 19 have similar ideals.

Pastoral composers generally have a strong demand for representation and potential poetic content, thus creating a new music notation. For example, when describing cruelty, sadness or death, they think it is necessary to break the routine and create a changing atmosphere with new dissonance and sudden tone sandhi. These bold changes rarely appear in religious music, but they have become recognized creative techniques in pastoral music, providing a variety of experimental opportunities for pastoral music, thus generating rich performance resources and strengthening the perceptual components of rational creative principles. In the mid-term development of pastoral, composers have made many new attempts in this respect. Besides Basil, the mid-term pastoral composers began to join more Italians, including Gabriel and Vicentino. Basil and Vicentino are both students in Vial. Basil's Pastoral was influenced by the teacher at first, and then it highlighted its personal style, paying attention to the combination of theme style and polyphonic style, especially the exploration of chromatic harmony, which influenced the creation of later generations. The musical languages of Lasso and Monteverdi were greatly influenced by Basil. The appearance of chromatic harmony or chromatic system (or chromatic style) is to provide more new possible expressions for music. /kloc-the chromatic system of the 0/6th century does not have the meaning we understand today. In the early Italian theoretical works, only short notes, quarter notes and eighth notes were used, and the use of inflections (falsetto) was also included. Theorists at that time tried to preserve the characteristics and colors of the church model. No matter which mode they choose, tone sandhi is forbidden. Only in the so-called musica falsa or musica ficta are F liters, C liters, G liters, B liters and E liters allowed. Because these voices have been widely used by composers, it is impossible to completely ban tone sandhi. In order to express the meaning as much as possible, pastoral composers began to use tone sandhi more frequently. For example, another student of Viale, the Italian composer and theorist Vicentino, is an advocate of the semitone system. Following the spirit of humanism, he put forward the theoretical outline of reviving ancient Greek music on the basis of the three "scales" of ancient Greek music: natural tone, inflection and quarter tone. He published a five-part pastoral in 1546, and told people through his own music practice that the style of using chromatic and tonal modes came from his teacher Viyralt. 1555 published the paper "antica musici dotta alla moderana prattica", which put forward the practical application of semitone style in theory, designed and manufactured harpsichord and organ that can play semitone and difference notes, which is of great historical significance for popularizing semitone system and expanding its performance. /kloc-at the end of 0/6, the development of rural music returned to the Italian people. Although it continued its own musical style, it was influenced by musicians from all over the Netherlands. When they are innovating, their musical language tends to be unified with the international style. In Venice, A. Gabbrielli and his nephew Giovanni Gabbrielli turned the pastoral style into a gorgeous decorative style. Giovanni has a good grasp of voice. He is good at writing ritual pastoral works, not purely lyrical works. Twelve pastoral songs (Sacri di giove augei) are not only luxurious, but also highlight the color of harmony, occasionally using bold dissonance like Monteverdi.

The contributions made by Marenzio, Monteverdi and Carlo Suardo, the late rural composers, can further improve the status of rural music in the development of the whole Renaissance music.

Marenzio was called "pastoral Schubert" by his contemporaries. There is no shadow of a pedant musician in his world. He is used to court life and often visits abroad, which broadens his musical horizons. His most commendable creative feature is his mastery of the so-called chromatic pastoral, which embodies the harmonious modulation of modern concepts. In his pastoral poems, he not only describes the tangible external world, but also describes the inner emotional world. Monteverdi's dramatic style is integrated into his works, but he is more conservative and rigorous. He never allows sudden enthusiasm in music. The melody and harmony of Marenzio's early pastoral tend to be simple, and sometimes even show a gentle feeling and femininity; Later writing became more energetic. The fifth six-part pastoral series shows gorgeous colors and rhythms and has a very flexible touch. It can show the state of fish rushing into reflective water, the fragrance of sunset or spring, and the music can contain the most detailed tones.

The constructiveness brought by "destruction" in Carlo Suardo's music creation seems to belong to the 20th century, rather than the late 6th century. He has a close relationship with big noble's Italian family, which gives him development advantages in all aspects. Influenced by humanists' exposition of ancient music and Vesentino's theory, he created some three-part Villanella and a large number of pastoral songs with counterpoint style. Later, he tried to create pastoral music with dissonant chromatic system (he didn't use it as a means, but as a result). He used a semitone technique in every part, which made the harmony lose its tone. He likes to keep the contrast between the voice and the fast-paced sentence very much.

The symbolic meaning of pastoral music is displayed to the greatest extent in Carlo Suardo's music. His works contain some factors of consciousness and wisdom, and at the same time, there are gorgeous melody concepts, which make some tragic phrases form "romantic" tragic. Compared with Marenzio's pure and refined artistic technique, Monteverdi's passionate artistic technique is like the comparison of Beethoven's and Mozart's artistic styles. There is always intense drama in Monteverdi's creation, which not only reflects his personality, but also reflects his musical characteristics.

Monteverdi, who spanned two centuries, namely 16 and 17, was proficient in various forms of the Renaissance and was also the main creative leader in 17 century. He was the last great pastoral composer in the late Renaissance and one of the founders of Italy in the early Baroque period. It can be said that the art of pastoral is at its peak because of Monteverdi, and his pastoral contains the seeds of modern harmonious language, musical and dramatic style and descriptive symphony. Monteverdi's personal expressive force replaced the generalized expressive force inherited from Gothic musicians in15th century. To some extent, he gave birth to the new art of pastoral. Monteverdi's early pastoral did not exceed the harmony language used by others, but it was innovative. Syncopation, oblique sound and transmission sound produce disharmonious sounds, and they purposefully use staggered relations. Although some people regard dissonance as a tone change, forming a sense of expectation for the silence behind, Monteverdi used this treatment cautiously. The early pastoral was basically a vocal role. After the fourth Pastoral Collection, Monteverdi seems to have the idea of instrumental music in his mind, and some works are very difficult even for the most skilled singers at that time. There are obvious signs of harmony reform in Monteverdi's late pastoral, and he instinctively practiced the overall technique of tonal chord progression. For the first time, he used unprepared seventh and ninth chords at the end and seventh chords in tone sandhi. On the one hand, this aspect was systematically discussed in Mora's Principles of Harmony and Acoustics.

Italian pastoral music has a variety of creative forms, providing rich technical and expressive resources, and diffusing countless symbols and formats, which are used by contemporary and later musicians and have a direct impact on the development of religious music and secular music such as instrumental music, classical songs and French polyphony.