The composers of the Renaissance created a new awareness in the ways to explore the relationships between music and words. Their wish to make musical discourse come close to the poetic one led them to search, first, for the concordance between rhythmical declamation and the prosodic accentuation of the text, and later on, for ways to suggest the poetical senses under the guidance of the "sound painting" of their concepts and the representation of their affections. The first explicit witness to the presence in Spain of the new madrigal genre appears in the publication of the ODARUM (QUAS VUGO MADRIGALES APPELLamus)…, by Pere Alberch (Barcelona: Jaume Cortey, 1561), of which only the Althus music book has been kept, and of the ODARUM SPIRITUALIUM MUSICO, ET PER ELEGANTI CONCENTU COMPOSITARUM, PETRO ALBERCIO VILA (Barcelona: Jaume Cortey, 1560). This collection, of which the tenor sheet music has been lost, includes nine odes or spiritual madrigals, eight of which are for four voices and one for six. The seven madrigals of this recording are part of this second volume, in which Sergi Casademunt has tried to reconstruct the part of the tenor.