input: During the Renaissance, sacred choral music was the principal type of formally notated music in Western Europe. Throughout the era, hundreds of masses and motets (as well as various other forms) were composed for a cappella choir, though there is some dispute over the role of instruments during certain periods and in certain areas. Some of the better-known composers of this time include Guillaume Dufay, Josquin des Prez, Giovanni Pierluigi da Palestrina, John Dunstable, and William Byrd; the glories of Renaissance polyphony were choral, sung by choirs of great skill and distinction all over Europe. Choral music from this period continues to be popular with many choirs throughout the world today. The madrigal, a partsong conceived for amateurs to sing in a chamber setting, originated at this period. Although madrigals were initially dramatic settings of unrequited-love poetry or mythological stories in Italy, they were imported into England and merged with the more dancelike balletto, celebrating carefree songs of the seasons, or eating and drinking. To most English speakers, the word madrigal now refers to the latter, rather than to madrigals proper, which refers to a poetic form of lines consisting of seven and eleven syllables each. The interaction of sung voices in Renaissance polyphony influenced Western music for centuries. Composers are routinely trained in the "Palestrina style" to this day, especially as codified by the 18c music theorist Johann Joseph Fux. Composers of the early 20th century also wrote in Renaissance-inspired styles. Herbert Howells wrote a Mass in the Dorian mode entirely in strict Renaissance style, and Ralph Vaughan Williams's Mass in G minor is an extension of this style. Anton von Webern wrote his dissertation on the Choralis Constantinus of Heinrich Isaac and the contrapuntal techniques of his serial music may be informed by this study.

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input: Cannon joined the newly formed Oilers under head coach Lou Rymkus. As one of the highest-paid players in professional football, he was heckled early on by opposing players. Nor did he get along well with Rymkus, whom he described as "unpleasant, confrontational, with a nasty disposition and an oversized ego." In Cannon's rookie year, he led the team in rushing with 644 yards and caught five touchdown passes. His 88-yard touchdown reception from quarterback George Blanda in the 1960 AFL Championship Game helped the Oilers become the inaugural AFL champions. For his efforts, Cannon was named the game's most valuable player. After Rykmus was fired when the Oilers started the 1961 season poorly, Houston won ten consecutive games under Wally Lemm. In one of those games, against the New York Titans, Cannon set a professional football record with 373 all-purpose yards and scored five touchdowns. His 216 rushing yards in the game also set an AFL record. At the end of the season, he was the AFL's leading rusher with 948 yards and led the league in all-purpose yards. The Oilers repeated as AFL champions and Cannon again was the game's MVP, scoring the only touchdown. The Sporting News named him to the 1961 AFL All-League Team and he was invited to play in the 1961 AFL All-Star Game. Cannon injured his back in the third game of the 1962 season, which affected his performances, but he still finished second on the team in scoring behind Blanda. The Oilers reached the championship game for a third time, but lost to the Dallas Texans in the first ever double-overtime game in professional football history. New leg injuries and lingering back problems caused Cannon to miss most of the 1963 season. The Oilers also replaced Lemm as head coach. Because of this and his injury problems, Cannon successfully requested that the team let him leave. He later recalled: "I left the team with good feelings and a lot of good friends. It was just time to go."

Answer this question "When did he join the Oilers?"
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input: Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records.

Answer this question "When did he start taking up music full time?"
output:
In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne.