Towards the end of the 15th century, polyphonic sacred music (as exemplified in the masses of Johannes Ockeghem and Jacob Obrecht) had once again become more complex, in a manner that can perhaps be seen as correlating to the increased exploration of detail in painting at the time.
Cara ao final do século XV, a música sacra polifónica (segundo o exemplificado nas masas de Johannes Ockeghem e de Jacob Obrecht) chegara a ser de novo máis complexa, dunha forma que se pode quizais considerar como correlacionando ao detalle impoñente na pintura nese entón.