 In the late 16th century and early 17th century, composers began pushing the limits of the Renaissance style.Madrigalism reached new heights of emotional expression and chromaticism in what Claudio Monteverdi called his "seconda pratica" (second practice), which he saw originating with Cipriano de Rore and developing in the music of composers such as Luca Marenzio and Giaches de Wert.This music was characterized by increased dissonance and by sections of homophony, which led to such traits of the early baroque as unequal voices where the bass line drove the harmonies and the treble melody became more prominent and soloistic.