Professional instrumentalists appear to have learnt their repertoires largely by rote. Only with the rise of amateur music-making during the second half of the sixteenth century did notated instrumental music become at all common. During the later Middle Ages, male singers attached to cathedrals, abbey churches, certain parish churches, colleges and private household chapels were the principal makers and users of music books. In sixteenth-century Britain, choirbook format was supplemented (and eventually replaced) by partbook format, in which individual voice-parts were copied into separate volumes; four-voice music, for example, would require a four-partbook set. Many of the books of polyphony used by church, chapel or collegiate choirs were institutionally owned, and were listed as chapel goods alongside the books of plainchant that were also required during church services. During the various stages of Tudor reform, printing played a role in the dissemination of newly authorized liturgical music. Three editions of Cranmer's litany of 1544 included music.