The Trecento was a period of vigorous activity in Italy in the arts, including painting, architecture, literature, and music. The music of the Trecento paralleled the achievements in the other arts in many ways, for example, in pioneering new forms of expression, especially in secular song in the vernacular language, Italian. In these regards, the music of the Trecento may seem more to be a Renaissance phenomenon; however, the predominant musical language was more closely related to that of the late Middle Ages, and musicologists generally classify the Trecento as the end of the medieval era. Trecento means "three hundred" in Italian but is usually used to refer to the 1300s. However, the greatest flowering of music in the Trecento happened late in the century, and the period is usually extended to include music up to around 1420. History Background and early history (to 1330) Very little Italian music remains from the 13th century, so the immediate antecedents of the music of the Trecento must largely be inferred. The music of the troubadors, who brought their lyrical, secular song into northern Italy in the early 13th century after they fled their home regions—principally Provence—during the Albigensian Crusade, was a strong influence, and perhaps a decisive one; many of the Trecento musical forms are closely related to those of the troubadours of more than a century before. Another influence on Trecento music was the conductus, a type of polyphonic sacred music which had the same text sung in all parts; texturally, Trecento secular music is more like the conductus than anything else that came before, although the differences are also striking, and some scholars (for example, Hoppin) have argued that the influence of the conductus has been overstated. Some of the poetry of Dante Alighieri (1265–1321) was set to music at the time it was written, but none of the music has survived. One of the musicians to set Dante's poetry was his friend Casella (died 1299 or 1300), memorialized in Canto II of Purgatorio. Poems of Dante set by others included canzoni and ballate; if they were similar to the other earliest ballate, they would have been monophonic. Though the pioneering music theory of Marchetto da Padova was written in this early period, the influence of his treatise on notation, the Pomerium, is largely seen in the manuscripts of the succeeding generations. Marchetto, building on (or in parallel with) the