Prior to the 16th-century Reformation, sacred music was defined by its role in Catholic liturgical and devotional practice. The liturgy of the Renaissance and early modern Mass and canonical hours (Matins, Lauds, Prime, Terce, Sext, Nones, Vespers, and Compline) was delivered largely in plainchant but was ornamented with improvised and composed polyphony. Although such polyphony took a variety of forms, the dominant genres comprised polyphonic settings of liturgical texts from the Mass, as well as other liturgical, paraliturgical, and biblical texts, many of them taken from the canonical hours. In these compositions, both musical and extramusical devices were appropriated for their symbolic or rhetorical potential to convey meaning, resulting in a complex intersection of the sacred and secular in terms of not only content, but also performance venue. Efforts to educate the laity, especially during the post-Tridentine era, resulted in the development of repertoire associated with the Triduum, including Lamentation cycles and dramatic music, as well new genres for performance at Vespers and in private devotions. They further led to the proliferation of simple, easily memorized songs that served to reinforce the teaching of doctrine. Although polyphony associated with the Catholic tradition and the practice of psalm singing traversed confessional boundaries, the Calvinist emphasis on the metrical psalm, the Lutheran reliance on congregational singing, and the Anglican adoption of the Book of Common Prayer gave rise to the distinctive repertoire of the Reformation. With the advent of the public concert in the 18th century, sacred genres that had dominated the Renaissance and early modern era were adapted to the concert hall and stage. There they were received within the theoretical, philosophical, and political contexts of the Cecilian movement, the Tudor revival, the French Schola Cantorum tradition, and 19th-century nationalist strains. Catholic and Protestant religious music, including cathedral music in the New Spain and psalm singing in New England, was redefined through transatlantic interaction during the European colonization of the Americas. It further was defined by musical genres such as the spiritual and gospel that emerged through the worship of Black communities.