Abstract
Diversity of principles of musical organization in the Renaissance laudas apparently has to do with the cantasi come practice. The laudesi borrowed music from the vast range of genres. Consequently lauda absorbed both the new fixed forms of the popular poetry and latin prose texts that supposed quite different formative impulses.
The article is aimed to demonstrate different types of musical form in Petrucci’s Laude libro primo and Laude libro secondo, we propose the musical analysis of several compositions.