In this essay I will discuss the origins of patronage and musical institutions, and their purpose within Renaissance musical culture, and in order to gain a greater understanding of both patronage and institutions I will also deal in depth with the Venetian School of San Marco. The Renaissance, which lasted from approximately the 14th century to the 17th century, was a time of great change for Europe in terms of culture, literature, art and music. As for music, it became important as part of community, religious and court life in the Renaissance. The elegant exchange of ideas led to major changes in composition styles, music distribution methods, new genres, and the advancement of musical instruments. The most important music of the early Renaissance was composed for the church. Polyphonic masses and motets in Latin for churches, courts and chapels. Patronage, at the end of the sixteenth century, divided between the Catholic Church, Protestant churches and courts, wealthy families were all avenues of income for musicians. The role of patronage during the period The Renaissance had a huge impact on the arts. The patrons' reasoning behind this ranged from having control when commissioning works of art, to religious reasoning. Patrons of art included the Church, government, aristocracy, guilds, and wealthy merchants, such as the Medici family in Florence. Since the Middle Ages the early Christian church and state were the centers of power, and most music surviving from that time was religious or sacred due to church patronage. In music appreciation during the early Renaissance, a work was seen as an object that could be created, sold, discussed, and owned. “Economically, this developed in a paper period. In conclusion, musical institutions in the Renaissance systematically used benefices and sinecures to supplement the singer's income. Recruitment was carried out competently, although there was competition to get the best composers. Musicians came from all over Europe, traveling from place to place to learn and work in educational institutions and for patrons, whether religious or aristocrats and rulers. The economic situation of the chapel's members was comparable to that of small merchants, skilled craftsmen, and lower-level government officials, and one step above that of ordinary clergy. But it can be said that economic opportunities, enlightened patronage and fame for musical standards contributed to attracting and retaining talented singers, helping to ensure the remarkable stability of his choir from 1400 to 1600.