He was the first director of the Veronese Accademia Filarmonica, and his writings, particularly a group of letters he wrote to the academy in the 1550s, are important sources of information on performance practice regarding use of instruments in madrigals as well as motets.
While this may have been a prestigious and intellectually engaging post, it paid little, and in 1551 he took a job as maestro di cappella at the cathedral of San Pietro in Treviso, with some reluctance.
[1] Nasco was a progressive composer in most of the genres current in mid-century Italy, including masses, passion settings, Lamentations, motets, and especially madrigals; however he did not publish much of his sacred music, especially his mass settings, and a lot of this music, which existed only in manuscript, was destroyed on April 7, 1944, during the Second World War when the Allies destroyed the ancient city center of Treviso in a bombing raid.
Nasco and his colleagues, including Ruffo, were influenced by the music of Adrian Willaert, the founder and most famous early member of the Venetian School.
He wrote homophonic textures with clearly declaimed text, and he anticipated the end-of-the-century development of functional harmony with his preference for root motions of fourths and fifths, rather than thirds.