# Fame.am profile — machine-readable export
# Canonical URL: https://fame.am/person/giovanni-pierluigi-da-palestrina
# Generated: 2026-08-31T18:50:25.960Z

schema: https://schema.org/Person
url: "https://fame.am/person/giovanni-pierluigi-da-palestrina"
name: "Giovanni Pierluigi da Palestrina"
slug: "giovanni-pierluigi-da-palestrina"
description: "He wrote over 105 masses and 250 motets, but what survived him wasn't the music itself — it was the rulebook others made from it. Palestrina's counterpoint became the template for how sacred polyphony should work, codified by theorists and drilled into centuries of students who never heard his name without the word \"pure.\""
tagline: "Italian Renaissance composer (c. 1525–1594)"
image: "https://commons.wikimedia.org/wiki/Special:FilePath/Giovanni_Pierluigi_da_Palestrina.jpg"
gender: "male"
country:
  name: "Italy"
  isoCode: "IT"
category:
  name: "Musicians"
  slug: "musicians"
profileType:
  name: "Singer / Musician"
  slug: "singer"
  entityType: "https://www.wikidata.org/entity/Q177220"
birthDate: "1525"
deathDate: "1594-02-02"
livingStatus: "DECEASED"
scores:
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  momentum:             15
  historical:           24.493452
  currentAttention:     5.714285714285714
  sourceConfidence:     70
  profileCompleteness:  80
  trendDirection:       "STABLE"
ranks:
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  country:  150
  category: null
tags:
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# bio (long form, separated for readability)
bio: |
  Born in the papal town that gave him his name, Palestrina moved to Rome as a child and rose through the church music ranks. In 1551, Pope Julius III made him maestro di cappella at St. Peter's Basilica, though he was forced out four years later when Paul IV required the post go to a cleric. He cycled through positions at St. John Lateran and Santa Maria Maggiore before returning to St. Peter's in 1571, where he stayed until his death in 1594. His masses and motets reconciled the aesthetic ambitions of Renaissance polyphony with the functional demands of post-Tridentine Catholic reform. That balancing act earned him a reputation as the ideal Catholic composer — and his style, filtered through later generations' selective reading, became an iconic model of perfect counterpoint.