Animuccia was involved with music for these meetings from early on and remained of the Oratory until his death. Neri was so pleased with Animuccia that he said he had "seen [his] soul... fly upwards towards heaven". The Oratory was able to attract many musicians who volunteered their services; this included the famous singer Francesco Soto de Langa from the Capella Sistina, the composer Palestrina, and probably the composer Tomás Luis de Victoria who lived in the same house as St. Phillip Neri for five years. Animuccia published two books of laudi for use in the Oratory in 1563 and 1570. His work formed the basis of the oratorios that did not descend from the polyphonic Gregorian "Passions". Animuccia's Florentine influence is evident as some of his texts originate from Florence. Stylistically the two books are rather different. Animuccia's first book contains simple settings of Italian laudi which are homophonic throughout, and were probably sung by amateur singers as part of Phillip Neri's early devotional meetings. The music in Animuccia's second book of laudi is much more madrigal-like; he uses a greater variety of textures, sonorities, and languages (Latin and Italian). His reasons for the change in style are stated in his dedication: The oratory having increased, by the grace of God, with the coming together of prelates and of most important gentlemen, it seemed to me fitting in this second book to increase the harmony and the combination of parts, varying the music in diverse ways, now setting it to Latin words and now to the vernacular, sometimes with a greater number of voices and sometimes with fewer, with verses now of one kind and now of another, concerning myself as little as possible with imitations and complexities, in order not to obscure the understanding of the words. By this time, the number of people attending the Oratory had increased significantly, and Animuccia wished to offer more complex music to "woo influential people through music into churches." Effects of the Counter-Reformation on Animuccia's music Animuccia was employed as the of the Capella Giulia at St. Peter's Basilica on the Vatican from January 1555, following Palestrina's promotion by Pope Julius III to the Capella Sistina. Animuccia's most important composition for this period was his (; 1567). The importance of this book of Masses is due to the fact that its style of composition was directly affected by the liturgical reforms