We have already seen that when the organ was first introduced into the church it was employed simply to play the same notes as the voices sang. This practice naturally suggested to composers a style for their organ music when they began to write for the organ independently of the voices. Just when they began to do that it is not possible to say, because the early compositions have not been preserved as the great masterpieces of church counterpoint have. The first organist of repute whose name has come down to us was Francesco Landini, of Venice. He flourished about 1364. But we do not meet with any definite school of organists in Venice until the third period of the Netherlands school, when the great Adrian Willaert was the leading master. In 1547 was published a collection of music entitled "Ricercari da cantare e sonare," by Jacob Buus. These "ricercari" were compositions in the old ecclesiastical keys and the polyphonic style. "Da cantare e sonare" means that they were to be sung or played. Anything "cantata" was vocal, anything "sonata" was instrumental; and so after a time they began to call a composition for instruments alone a sonata, though it was a very different sort of work from a sonata by Mozart. In 1549 fantasies for three voices, vocal or instrumental, by Willaert were printed. Willaert used original themes in his fantasies, and his style shows a gradual approach to the modern manner. In 1551 was issued a collection by various authors, entitled "A New Collection of Various Kinds of Dances to be Played on the Harpsichord, Clavicimbal, Spinet, or Monochord." The word "dances" is very significant, because it shows the first recorded effort to write instrumental music in purely instrumental form. In this collection there was no polyphony, but the melody of the dance was in the treble, and the bass was a simple chord accompaniment. This is an evidence of the manner in which the music of the people began at that early date to influence compositions for instruments.