 In contention of composers' supposed indifference to instrumental timbres, Brown has also pointed out that as early as 1533, Pierre Attaignant was already marking some vocal arrangements as more suitable for certain groups of like instruments than for others.Furthermore, Count Giovanni de' Bardi, host of a gathering of prominent 1580s scholars and artists known as the Florentine Camerata, was demonstrably aware of the timbral effects of different instruments and regarded different instruments as being suited to expressing particular moods.In the absence of idiomatic writing in the sixteenth century, characteristic instrumental effects may have been improvised in performance.