Year 1505 (MDV) was a common year starting on Wednesday (link will display the full calendar) of the Julian calendar.

Christopher Tye (c. 1505 – c. 1572) was an English composer and organist, who studied at Cambridge University and in 1545 became a Doctor of Music both there and at Oxford.

He was choirmaster of Ely Cathedral from about 1543 and also organist there from 1559. The title page to Tye's Actes of the Apostles (London 1553) describes him as one of the Gentlemen of his grace's most honourable chapel, and he may have been music teacher to King Edward VI, who reportedly quoted his father, Henry VIII, as saying England hath one God, one truth, one doctor hath for music's art, and that is Doctor Tye, admired for skill in music's harmony.

Tye remained at Ely under the reign of the Catholic Queen Mary despite his apparent Protestant leanings. In 1560 or 1561 he resigned his post at Ely and took holy orders, becoming Rector of Doddington, Cambridgeshire. He died in 1572 or 1573, apparently still active under Elizabeth, for Anthony Wood relates that

Dr Tye was a peevish and humoursome man, especially in his latter dayes, and sometimes playing on ye Organ in ye chap. of qu. Elizab. wh. contained much musick, but little of delight to the ear, she would send ye verger to tell him yt he play'd out of Tune: whereupon he sent word yt her ears were out of Tune.

Jordi Savall i Bernadet (Catalan pronunciation: [ˈʒɔrði səˈβaʎ]; born January 14, 1942, in Igualada, Catalonia) is a Catalan viol player, conductor and composer. He has been one of the major figures in the field of Western early music since the 1970s, largely responsible for bringing the viol (viola da gamba) back to life on the stage. His characteristic repertory ranges from Medieval to Renaissance and Baroque music, though he has occasionally ventured into the classical or even the romantic period.

Savall's musical training started at the age of six in the school choir of his native town (1947–55). After completion of training at the Barcelona Conservatory of Music (1959–65), he specialised in early music, collaborating with Ars Musicae Barcelona of Enric Gispert and studying under August Wenzinger at the Schola Cantorum Basiliensis in Basel, Switzerland (1968–70). In 1974 he succeeded Wenzinger as professor of viola da gamba at the Schola Cantorum Basiliensis.

In 1974 he formed the ensemble Hespèrion XX (known since 2000 as Hespèrion XXI), together with the soprano Montserrat Figueras (his wife, who died in 2011), Lorenzo Alpert and Hopkinson Smith. Hespèrion XX favoured a style of interpretation characterised by great musical vitality and, at the same time, ultimate historical accuracy.

Albrecht Dürer (German pronunciation: [ˈalbʁɛçt ˈdyːʁɐ]; 21 May 1471 – 6 April 1528) was a German painter, printmaker, engraver, mathematician, and theorist from Nuremberg. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known works include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.

Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Amati is the name of a family of Italian violin makers, who flourished at Cremona from about 1549 to 1740.

Andrea Amati (ca. 1505 – ca. 1578) was the earliest maker of violins whose instruments still survive today. Indeed he seems more or less responsible together with Gasparo da Salò and some Micheli's like Zanetto or Pellegrino for giving the instruments of the modern violin family their definitive profile. A very small number of his instruments survive, dated between the years of 1560 and 1574 and most bearing the coat of arms of Charles IX of France. His work is marked by great elegance and an awareness of geometrical principles in design.

Andrea Amati was succeeded by his sons Antonio Amati (born ca. 1550) and Girolamo Amati (1551–1635). "The Brothers Amati", as they were known, implemented far-reaching innovations in design, including the perfection of the shape of the f-holes. They are also thought to have pioneered the modern alto format of viola, in contrast to older tenor violas, but this stating is not correct since Gasparo made violas from altos of 39 to tenors of 44,7 cm.