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[[File:Der Geist hilft unser Schwachheit auf.JPEG|thumb|250px|The first page from the [[manuscript]] of [[J. S. Bach]]'s [[Baroque music]] era motet, entitled ''[[Der Geist hilft unser Schwachheit auf, BWV 226|Der Geist hilft unser Schwachheit auf]]'' (BWV226)]]
{{short description|Vocal musical composition in Western classical music}}
In [[Western classical music]], a '''motet''' is mainly a vocal musical composition, of highly diverse form and style, from high [[medieval music]] to the present. The motet was one of the preeminent [[polyphonic]] forms of [[Renaissance music]]. According to the English [[musicologist]] [[Margaret Bent]], "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.<ref name=bent>Margaret Bent, "[https://books.google.com/books?id=_UmMn1EgB7IC&pg=PA114 The Late-Medieval Motet]" in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 ([[Berkeley, California]]: University of California Press, 1992): 114. {{ISBN|9780520210813}}.</ref> The late 13th-century theorist [[Johannes de Grocheo]] believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".<ref>Johannes de Grocheio, ''Ars Musice'', edited and translated by Constant J. Mews, John N. Crossley, Catherine Jeffreys, Leigh McKinnon, and Carol J. Williams; TEAMS Varia (Kalamazoo, MI: Medieval Institute Publications, 2011): 85 [section 19.2]. {{ISBN|9781580441643}} (cloth); {{ISBN|9781580441650}} (pbk).</ref>

==Etymology==
In the early 20th century, it was generally believed ''motet'' came from the [[Latin]] ''movere'' (to move), though a derivation from the French {{lang|fr|mot}} ("word", or "phrase") had also been suggested. The [[Medieval Latin]] for "motet" is ''motectum'', and the Italian {{lang|it|mottetto}} was also used.<ref>{{CathEncy|author=William Henry Grattan Flood|wstitle=Motet}}</ref> If the word is from Latin, the name describes the movement of the different voices against one another. Today, however, the French [[etymology]] is favoured by reference books, as the word "motet" in 13th-century French had the sense of "little word".<ref>{{OED|motet}} entry "Motet".</ref><ref>Willi Apel, “Motet”, ''Harvard Dictionary of Music'', second edition (Cambridge, MA: Harvard University Press, 1969). {{ISBN|0674375017}}.</ref><ref>James Peter Burkholder, Donald Jay Grout, and Claude V. Palisca ''A History of Western Music'', eighth edition (New York: W. W. Norton & Company, 2010): 102. {{ISBN|978-0-393-93125-9}}.</ref><ref>Jerome Roche and Elizabeth Roche. "Motet". ''The Oxford Companion to Music'', edited by Alison Latham (New York: Oxford University Press, 2001). {{ISBN|978-0-19-866212-9}}.</ref> The [[trope (music)|troped]] ''[[Clausula (music)|clausulas]]'' that were the forerunner of the motet were originally called ''motelli'' (from the French ''mot'', "word"), soon replaced by the term {{lang|la|moteti}}.<ref name="NewGrove" />

==Medieval examples==
{{Medieval music sidebar|expanded=}}

The earliest motets arose in the 13th century from the ''[[organum]]'' tradition exemplified in the [[Notre-Dame school]] of [[Léonin]] and [[Pérotin]].<ref name="NewGrove">Ernest H. Sanders and Peter M. Lefferts, "Motet, §I: Middle Ages", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan Publishers, 2001).</ref> The motet probably arose from [[Clausula (music)|clausula]] sections in a longer sequence of {{lang|la|organum}}. Clausulae represent brief sections of longer polyphonic settings of chant with a note-against-note texture. In some cases, these sections were composed independently and "substituted" for existing setting. These clausulae could then be "troped," or given new text in the upper part(s), creating motets.<ref>{{cite journal |last1=Flotzinger |first1=Rudolf |author-link1=Rudolf Flotzinger|title=Clausula |website=Grove Music Online |publisher=Oxford University Press|url=http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005897|access-date=17 November 2018 |doi=10.1093/gmo/9781561592630.article.05897 |date=2001|isbn=978-1-56159-263-0 |url-access=subscription }}</ref> From these first motets arose a [[medieval music|medieval]] tradition of [[secular]] motets. These were two- to four-part compositions in which different texts, sometimes in different [[vernacular]] languages, were sung simultaneously over a (usually Latin-texted) ''[[cantus firmus]]'' usually adapted from a [[Melisma|melismatic]] passage of [[Gregorian chant]] on a single word or phrase. It is also increasingly argued that the term "motet" could in fact include certain brief single-voice songs.<ref>{{cite journal |last1=Peraino |first1=Judith |title=Monophonic Motets: Sampling and Grafting in the Middle Ages |journal=Musical Quarterly |date=2001 |volume=85 |issue=4 |pages=644–680 |doi=10.1093/mq/85.4.644}}</ref> 

The texts of upper voices include subjects as diverse as courtly love odes, pastoral encounters with shepherdesses, political attacks, and many Christian devotions, especially to the Virgin Mary. In many cases, the texts of the upper voices are related to the themes of the chant passage they elaborate on, even in cases where the upper voices are secular in content.<ref>{{Cite journal |last=Hoekstra |first=Gerald R. |date=1998 |title=The French Motet as Trope: Multiple Levels of Meaning in Quant florist la violete / El mois de mai / Et gaudebit |url=https://www.journals.uchicago.edu/doi/10.2307/2886871 |journal=Speculum |language=en |volume=73 |issue=1 |pages=32–57 |doi=10.2307/2886871 |jstor=2886871 |s2cid=162143719 |issn=0038-7134|url-access=subscription }}</ref> Most medieval motets are anonymous compositions and significantly re-use music and text. They are transmitted in a number of contexts, and were most popular in northern France. The largest surviving collection is in the [[Montpellier Codex]].<ref>{{Cite journal |last=Wolinski |first=Mary E. |date=1992 |title=The Compilation of the Montpellier Codex |url=https://www.jstor.org/stable/853818 |journal=Early Music History |volume=11 |pages=263–301 |doi=10.1017/S0261127900001248 |jstor=853818 |s2cid=193246052 |issn=0261-1279|url-access=subscription }}</ref>

Increasingly in the 14th and 15th centuries, motets made use of repetitive patterns often termed [[isorhythm|panisorhythmic]]; that is, they employed repeated rhythmic patterns in all voices&mdash;not only the ''cantus firmus''&mdash;which did not necessarily coincide with repeating melodic patterns. [[Philippe de Vitry]] was one of the earliest composers to use this technique, and his work evidently had an influence on that of [[Guillaume de Machaut]], one of the most famous named composers of late medieval motets.

===Medieval composers===
Other medieval motet composers include:

* [[Adam de la Halle]] (1237?–1288? or after 1306)
* [[Johannes Ciconia]] (c. 1370–1412)
* [[Guillaume Du Fay]] (1397-1474)
* [[John Dunstaple]] (c. 1390–1453)
* [[Franco of Cologne]] (fl. mid-13th century)
* [[Jacopo da Bologna]] (fl. 1340–1385)
* [[Marchetto da Padova]] (fl. 1305–1319)
* [[Petrus de Cruce]] (fl. second half of the 13th century)
* [[W. de Wycombe]] (fl. 1270s)

==Renaissance examples==
{{Renaissance music sidebar}}

The compositional character of the motet changed entirely during the transition from medieval to [[Renaissance music]], as most composers abandoned the use of a repeated figure as a ''cantus firmus''. [[Guillaume Dufay]] was a transitional figure in this regard, writing one of the last important motets in the medieval, isorhythmic style, ''[[Nuper rosarum flores]]'', in 1436.<ref>[[Alec Robertson (music critic)|Alec Robertson]] and [[Denis Stevens]], eds., ''A History of Music'', Volume 2 (New York: Barnes and Noble, Inc., 1965), 85.</ref><ref>Edgar H. Sparks, Cantus Firmus in Mass and Motet 1420&ndash;1520 (New York: Da Capo Press, 1975), 86.</ref> During the second half of the fifteenth century Motets stretched the ''cantus firmus'' to greater lengths compared to the surrounding multi-voice counterpoint, adopting a technique of contemporary 'tenor masses'.<ref name="NewGrove2">Leeman L. Perkins and Patrick Macey, "Motet, §II: Renaissance", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan Publishers, 2001).</ref> This obscured the ''cantus firmus'' rhythm more than in medieval isorhythmic motets. Cascading, [[passing chord]]s created by the interplay of voices and the absence of an obvious beat distinguish medieval and renaissance motet styles.

Motet frequently used the texts of [[antiphon]]s and the Renaissance period marked the flowering of the form. The Renaissance motet is [[polyphony|polyphonic]], sometimes with an imitative counterpoint, for a chorus singing a Latin and usually sacred text. It is not connected to a specific [[liturgy]], making it suitable for any service.

Motets were sacred [[madrigal (music)|madrigal]]s and the language of the text was decisive: [[Latin]] for a motet and the vernacular for a madrigal.<ref>The [[Hilliard Ensemble]], ''Palestrina: Canticum canticorum, Motets Book IV; Spiritual madrigals'' (Virgin Classics, 1994; sound recording liner notes)</ref> The relationship between the forms is clearest in composers of sacred music, such as [[Giovanni Pierluigi da Palestrina]], whose "motets" setting texts from the ''[[Song of Solomon|Canticum Canticorum]]'' are among the most lush and madrigal-like, while his madrigals using [[Petrarch]]'s poems could be performed in a church. Religious compositions in vernacular languages were often called ''[[madrigale spirituale|madrigali spirituali]]'', "spiritual madrigals". These Renaissance motets developed in episodic format with separate phrases of the text given independent melodic treatment and contrapuntal development.

Secular motets, known as "ceremonial motets",<ref name="blanche">Blanche Gangwere, ''[https://books.google.com/books?id=v5Oz7vPCQXoC Music History During the Renaissance Period, 1520–1550]'' (Westport, CT, Praeger Publishers: 2004), pp. 451–54.</ref> typically set a Latin text to praise a monarch, music or commemorate a triumph. The theme of [[courtly love]], often found in the medieval secular motet, was banished from the Renaissance motet. Ceremonial motets are characterised by clear articulation of formal structure and by clear diction, because the texts would be novel for the audience. [[Adrian Willaert]], [[Ludwig Senfl]], and [[Cipriano de Rore]] are prominent composers of ceremonial motets from the first half of the 16th century.<ref name="blanche" />

===Renaissance composers===
The motet was one of the preeminent forms of [[Renaissance music]]. Important composers of Renaissance motets include:

{{div col|colwidth=17em}}
* [[Alexander Agricola]]
* [[Gilles Binchois]]
* [[Antoine Boësset]]
* [[Antoine Brumel]]
* [[Antoine Busnois]]
* [[William Byrd]]
* [[Johannes Vodnianus Campanus]]
* [[Pierre Certon]]
* [[Jacobus Clemens non Papa]]
* [[Loyset Compère]]
* [[Thomas Crecquillon]]
* [[Josquin des Prez]]
* [[John Dunstaple]]
* François-[[Eustache Du Caurroy]]
* [[Antoine de Févin]]
* [[Carlo Gesualdo]]
* [[Nicolas Gombert]]
* [[Francisco Guerrero (composer)|Francisco Guerrero]]
* [[Heinrich Isaac]]
* [[Claude Le Jeune]]
* [[Pierre de La Rue]]
* [[Orlando di Lasso]]
* [[Jean Maillard]]
* [[Cristóbal de Morales]]
* [[Étienne Moulinié]]
* [[Jean Mouton]]
* [[Jacob Obrecht]]
* [[Johannes Ockeghem]]
* [[Andreas Pevernage]]
* [[Lucrezia Orsina Vizzana]]
* [[Martin Peerson]]
* [[Giovanni Pierluigi da Palestrina]]
* [[Thomas Tallis]]
* [[John Taverner]]
* [[Robert Carver (composer)|Robert Carver]]
* [[Tomás Luis de Victoria]]
* [[Manuel Cardoso (composer)|Manuel Cardoso]]
{{div col end}}

In the latter part of the 16th century, [[Giovanni Gabrieli]] and other composers developed a new style, the [[polychoral]] motet, in which two or more [[choir]]s of singers (or instruments) alternated. This style of motet was sometimes called the ''Venetian motet'' to distinguish it from the ''Netherlands'' or ''Flemish'' motet written elsewhere. "[[If Ye Love Me]]" by Thomas Tallis serves the demand of the Church of England for English texts, and a focus on understanding the words, beginning in [[homophony]].

==Baroque examples==
In [[Baroque music]], especially in France where the motet was very important, there were two distinct, and very different types of motet: ''petits motets'', sacred choral or chamber compositions whose only accompaniment was a [[basso continuo]]; and ''[[grands motets]]'', which included massed choirs and instruments up to and including a full orchestra. [[Jean-Baptiste Lully]], [[Michel Richard Delalande|Michel Richard de Lalande]], [[Marc-Antoine Charpentier]] were important composers of this sort of motet. Their motets often included parts for soloists as well as choirs; they were longer, including multiple movements in which different soloist, choral, or instrumental forces were employed. Lully's motets also continued the Renaissance tradition of semi-secular Latin motets in works such as ''[[Plaude Laetare Gallia]]'', written to celebrate the baptism of King [[Louis XIV]]'s son; its text by [[Pierre Perrin]] begins:

<blockquote><poem>''Plaude laetare Gallia''
''Rore caelesti rigantur lilia,''
''Sacro Delphinus fonte lavatur''
''Et christianus Christo dicatur.''</poem>

("Rejoice and sing, France: the lily is bathed with heavenly dew. The [[Louis, Grand Dauphin|Dauphin]] is bathed in the sacred font, and the Christian is dedicated to Christ.")</blockquote>

In France, [[Pierre Robert (composer)|Pierre Robert]] (24 grands motets), [[Henri Dumont|Henry Dumont]] (grands & petits motets), Marc-Antoine Charpentier (206 different types of motets), [[Michel Richard Delalande|Michel-Richard de La Lande]] (70 grands motets), [[Henri Desmarets|Henry Desmarest]] (20 grands motets), [[François Couperin]] (motets lost), [[Nicolas Bernier]], [[André Campra]], [[Charles-Hubert Gervais]] (42 grands motets), [[Louis-Nicolas Clérambault]], [[François Giroust]] (70 grands motets) were also important composers. In Germany, too, pieces called motets were written in the new musical languages of the Baroque. [[Heinrich Schütz]] wrote many motets in series of publications, for example three books of [[Symphoniae sacrae I|Symphoniae sacrae]], some in Latin and some in German. [[Hans Leo Hassler]] composed motets such as ''[[Dixit Maria]]'', on which he also based a mass composition.

=== J. S. Bach's compositions ===
{{main|List of motets by Johann Sebastian Bach}}
Six motets attributed to [[Johann Sebastian Bach]] and catalogued BWV 225–230 are relatively long pieces combining German hymns with biblical texts, several of them composed for funerals. They are mostly written in ''[[a cappella]]'' style,  ''[[basso continuo]]'', with instruments playing [[colla parte]]. The first five, for double chorus, are almost certainly composed by Bach and are written in ''[[a cappella]]'' style, though strings and oboes appear to have accompanied [[colla parte]]. ''Lobet dem Herrn'' is for [[SATB]] with ''[[basso continuo]]''.

* BWV 225 ''[[Singet dem Herrn ein neues Lied, BWV 225|Singet dem Herrn ein neues Lied]]'' (1726)
* BWV 226 ''[[Der Geist hilft unser Schwachheit auf, BWV 226|Der Geist hilft unser Schwachheit auf]]'' (1729)
* BWV 227 ''[[Jesu, meine Freude, BWV 227|Jesu, meine Freude]]'' 
* BWV 228 ''[[Fürchte dich nicht, BWV 228|Fürchte dich nicht]]'' 
* BWV 229 ''[[Komm, Jesu, komm, BWV 229|Komm, Jesu, komm]]'' (1730?)
* BWV 230 ''[[Lobet den Herrn, alle Heiden, BWV 230|Lobet den Herrn, alle Heiden]]'' (?)

The funeral [[List of Bach cantatas|cantata]] [[O Jesu Christ, meins Lebens Licht, BWV 118|''O Jesu Christ, meins Lebens Licht'', BWV 118]] (1736–37?) is regarded as a motet, though it has independent instrumental parts. The motet [[Sei Lob und Preis mit Ehren, BWV 231|''Sei Lob und Preis mit Ehren'', BWV 231]] is an arrangement of a movement from Bach's Cantata 28, and the authenticity of the arrangement is not certain. For a few more motets, such as [[Ich lasse dich nicht, BWV Anh 159|''Ich lasse dich nicht'', BWV Anh 159]], Bach's authorship is debated.

== Later 18th century - present==
Later 18th-century composers wrote few motets. [[Johann Christoph Friedrich Bach]] composed an extended [[chorale motet]] ''[[Wachet auf, ruft uns die Stimme (J. C. F. Bach)|Wachet auf, ruft uns die Stimme]]'', combining Baroque techniques with the [[galant style]]. [[Wolfgang Amadeus Mozart|Mozart's]] [[Ave verum corpus (Mozart)|Ave verum corpus]] (K. 618) is this genre. [[Jean-Philippe Rameau|Rameau]], [[Jean-Joseph de Mondonville|Mondonville]] and [[François Giroust|Giroust]] also wrote grands motets.

In the 19th century, some German composers continued to write motets. [[Felix Mendelssohn]] composed ''[[Jauchzet dem Herrn, alle Welt (Mendelssohn)|Jauchzet dem Herrn, alle Welt]]'', ''[[Denn er hat seinen Engeln befohlen]]'' and ''[[Mitten wir im Leben sind (Mendelssohn)|Mitten wir im Leben sind]]''. [[Johannes Brahms]] composed three motets on biblical verses, ''[[Fest- und Gedenksprüche]]''. Josef Rheinberger composed ''[[Abendlied (Rheinberger)|Abendlied]]''. [[Anton Bruckner]] composed about 40 [[Motets (Bruckner)|motets]], mainly in Latin, including ''[[Locus iste (Bruckner)|Locus iste]]''. French composers of motets include [[Camille Saint-Saëns]] and [[César Franck]]. In English similar compositions are called [[anthem]]s. Some later English composers, such as [[Charles Villiers Stanford]], wrote [[Three Latin Motets|motets in Latin]]. Most of these compositions are [[a cappella]] and some, such as [[Edward Elgar]]'s three motets Op. 2, are accompanied by organ.

In the 20th century, composers of motets have often consciously imitated earlier styles. In 1920, Ralph Vaughan Williams composed ''[[O clap your hands (Vaughan Williams)|O clap your hands]]'', a setting of verses from [[Psalm 47]] for a four-part choir, organ, brass, and percussion, called a motet. [[Carl Nielsen]] set in ''[[Tre Motetter]]'' three verses from different psalms as motets, first performed in 1930. Francis Poulenc set several Latin texts as motets, first ''[[Quatre motets pour un temps de pénitence]]'' (1938). [[Maurice Duruflé]] composed ''[[Quatre Motets sur des thèmes grégoriens]]'' in 1960, and ''[[Notre Père]]'' in 1977. Other examples include works by [[Richard Strauss]], [[Charles Villiers Stanford]], [[Edmund Rubbra]], [[Lennox Berkeley]], [[Morten Lauridsen]], [[Edward Elgar]], [[Hugo Distler]], [[F. Melius Christiansen]], [[Ernst Krenek]], [[Michael Finnissy]], [[Karl Jenkins]]<ref>''19 motets for mixed voices a cappella''. Boosey & Hawkes 2014, {{ISBN|978-1-78454-028-9}}.</ref> and [[Igor Stravinsky]].

[[Arvo Pärt]] has composed motets, including ''[[Da pacem Domine]]'' in 2006,<ref>''Da pacem Domine'' (2006). In: ''Cantica nova. Zeitgenössische Chormusik für den Gottesdienst''. Choirbook of the ACV, Regensburg/Passau 2012, {{ISBN|978-3-00-039887-2}},</ref> as have [[Dave Soldier]] (Motet: Harmonies of the World, with rules from Johannes Kepler), [[Sven-David Sandström]],<ref>[http://www.vdkc.de/cms/index.php/choere/aktuelles-aus-den-choeren/715-kammerchor-hannover-bach-vs-sandstroem-motetten-und-fotografien Kammerchor Hannover "Bach vs. Sandström" (2014)] [[Verband Deutscher Konzertchöre]].</ref> [[Enjott Schneider]],<ref>''Gott hat uns nicht gegeben'' (2007) and ''Komm, Heiliger Geist'' (2002). In: ''Cantica nova. Zeitgenössische Chormusik für den Gottesdienst''. Choirbook of the ACV, Regensburg/Passau 2012, {{ISBN|978-3-00-039887-2}}.</ref> [[Ludger Stühlmeyer]]<ref>''Veni Creator Spiritus'' (2012), motet for choir SATB. In: ''Cantica nova. Zeitgenössische Chormusik für den Gottesdienst''. Choirbook of the ACV, Regensburg/Passau 2012, {{ISBN|978-3-00-039887-2}}. ''With Hearts Renewed'' (2017), motet for choir and instruments. Dedicatet to the [[Westminster Cathedral]] Choir of London. ''Hymn'' (2017), motet for choir a cappella SSAATTBB, lyrics from a poem by [[Edgar Allan Poe]]. Dedicated to Matthias Grünert, the cantor of the [[Frauenkirche Dresden]].</ref> and [[Pierre Pincemaille]].<ref>Three motets (Pater Noster; Ave Maria; Ave Verum), published with A coeur joie editions: [http://edacj.musicanet.org/product_info.php?products_id=4672&language=en&osCsid=5396f6774fbc793d8f65649438fbb53e Website of ''A coeur joie'' editions]</ref>

==References==
{{reflist}}

==Further reading==
* Anderson, Michael Alan. ''St. Anne in Renaissance Music: Devotion and Politics.'' Cambridge: Cambridge University Press, 2014.
* Cumming, Julie E. ''The Motet in the Age of Dufay.'' Cambridge: Cambridge University Press, 1999.
* Favier, Thierry, ''Le Motet à grand chœur (1660–1792): Gloria in Gallia Deo.'' Paris: Fayard, 2009.
* Fitch, Fabrice, ''Renaissance Polyphony.'' Cambridge: Cambridge University Press, 2020.
*{{wikicite|ref=<!--{{harvid|Hartt|2018}}-->|reference=Hartt, Jared C., ed., ''A Critical Companion to Medieval Motets''. Woodbridge: Boydell, 2018. {{ISBN|978-1-78327-307-2}}.}}
* Lincoln, Harry B. ''The Latin Motet: Indexes to Printed Collections, 1500–1600'' Institute of Medieval Music, 1993.
* Melamed, Daniel R., ''J. S. Bach and the German Motet.'' Cambridge: Cambridge University Press, 1995.
* Nosow, Robert, ''Ritual Meanings in the Fifteenth-Century Motet.'' Cambridge: Cambridge University Press, 2012.
* Pesce, Dolores, ed., ''Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance''. Oxford: Oxford University Press, 1997.
* Rice, John A., ''Saint Cecilia in the Renaissance: The Emergence of a Musical Icon'' Chicago: University of Chicago Press, 2022.
* Rodríguez-Garcia, Esperanza, and Daniele V. Filippi, eds, ''Mapping the Motet in the Post-Tridentine Era.'' Abingdon: Routledge, 2019
* Schmidt, Thomas, ''The Motet around 1500: On the Relationship between Imitation and Text Treatment.'' Turnhout: Brepols, 2012.
* Zazulia, Emily, ''Where Sight Meets Sound: The Poetics of Late-Medieval Music Writing.'' New York: Oxford University Press, 2021
* Zayaruznaya, Anna, ''The Monstrous New Art: Divided Forms in the Late Medieval Motet.'' Cambridge: Cambridge University Press, 2015.

==External links==
* Motet Database Catalogue Online [https://www.uflib.ufl.edu/motet/] at the [[University of Florida]]

{{Medieval music}}
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