Short answers, pulled from the story.
The Renaissance in Scotland ran from the late fifteenth century to the beginning of the seventeenth century. Historians generally consider it to have peaked in the first half of the sixteenth century, between the reigns of James IV and the deposition of Mary, Queen of Scots.
The Reformation, from about 1560, devastated ecclesiastical art through Calvinist iconoclasm, resulting in the near-total loss of medieval stained glass, religious sculpture, and paintings. Church music was also dismantled, with song schools closed, choirs disbanded, and organs removed; complex polyphonic music gave way to the simpler homophonic settings of metrical psalms.
The major literary figures included the makars William Dunbar, Robert Henryson, Gavin Douglas, and Walter Kennedy. Gavin Douglas produced the Eneados, the first complete translation of Virgil's Aeneid into an Anglic language, completed in 1513. James VI was himself an active participant, publishing a poetic treatise in 1584 at age eighteen and patronising the Castalian Band, which included William Fowler and Alexander Montgomerie.
The court was the primary source of patronage and the main venue for displaying Renaissance ideas. From the tournaments of James IV in 1507 and 1508 to the elaborate baptism of Prince Henry in 1595, court spectacles combined classical imagery with chivalric tradition. When James VI moved to England in 1603, the removal of the court as a source of patronage fundamentally limited further development of Renaissance culture in Scotland.
Andrew Melville returned from Geneva to become principal of the University of Glasgow in 1574 and drove sweeping reforms across all Scottish universities. He abolished the system of regenting, made Greek compulsory in the first year, introduced Aramaic, Syriac, and Hebrew, and replaced Aristotelian metaphysics with a curriculum that allowed accepted ideas to be challenged. He was appointed Principal of St Mary's College, St Andrews in 1580 and assisted in reconstructing Marischal College, Aberdeen.
Robert Carver, born around 1488 and died around 1558, was a canon of Scone Abbey and the outstanding Scottish composer of the first half of the sixteenth century. Five of his masses and two votive antiphons survive. His antiphon Oh Bone Jesu was scored for nineteen voices, and one of his masses contains the only surviving example in Britain of the continental cantus firmus technique.