In turn, the motellus gave birth to the motet which is a poly-textual piece in discant, which obviously sparked a lot a creativity as it soon became a prolific form of composition.

Around 1400, the technique of the diminution motet became common: a long tenor color was repeated several times according to different mensuration rules, making its performance faster by a fixed proportion each time.

Developments in notation allowed notes to be written with greater independence of rhythm, shunning the limitations of the rhythmic modes which prevailed in the thirteenth century ; secular music acquired much of the polyphonic sophistication previously found only in sacred music ; and new techniques and forms, such as isorhythm and the isorhythmic motet, became prevalent.

While in Venice, Hassler became friends with Giovanni Gabrieli, with whom he composed a wedding motet for Georg Gruber, a Nuremberg merchant living in Venice, in 1600.

By the thirteenth century, another polyphonic style called the motet became popular.

The motet was Gombert's preferred form, and his compositions in this genre not only were the most influential part of his output, but they show the greatest diversity of compositional technique.

According to Margaret Bent ( 1997 ), " 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.

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 choirs of singers ( or instruments ) alternated.

Forms of sacred music which developed during the late 13th century included the motet, conductus, discant, and clausulae.

By the end of the 12th century, a form of song called the motet arose, accompanied by traveling musicians called jongleurs.

A parody mass is a musical setting of the mass, typically from the 16th century, that uses multiple voices of another pre-existing piece of music, such as a fragment of a motet or a secular chanson, as part of its melodic material.

His 1542 book was an extraordinary event, and recognized as such at the time: it established five voices as the norm, rather than four, and it married the polyphonic texture of the Netherlandish motet with the Italian secular form, bringing a seriousness of tone which was to become one of the predominant trends in madrigal composition all the way into the seventeenth century.

His melodic writing and use of dissonance is more free than that of Palestrina ; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths ( for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre ).

More frequently the 16th century motet practice is used: the hymn melody either migrates from one voice to another, with or without imitative inserts between verses, or is treated imitatively throughout the piece.

An example of an isorhythmic motet is Garrit Gallus / In nova fert / Neuma, attributed to Philippe de Vitry in the first half of the 14th century.

His motets are particularly significant as they show the three separate stages of early sixteenth century motet development, highly unusual to find in the work of a single composer.

Often, sacred music in the concertato style in the early 17th century was descended from the motet: the texts that a hundred years earlier would have been set for a cappella voices singing in smooth polyphony, would now be set for voices and instruments in a concertato style.

This second, imitative type first appeared in the middle part of the sixteenth century, and developed parallel to the motet, with which it shared many of its imitative procedures.

According to the Oxford Dictionary of Music, in the 16th century the instrumental fantasia was a strict imitation of the vocal motet ( Kennedy 2006 ).

The chorale motet was a type of musical composition in mostly Protestant parts of Europe, principally Germany, and mainly during the 16th century.

His musicians went with him on his travels, and he competed with Henry VIII at the Field of the Cloth of Gold in 1520 for the most magnificent musical entertainment ; likely the event was directed by Jean Mouton, one of the most famous motet composers of the early 16th century after Josquin.

Jacques of Liège, in his early 14th century Speculum musice, a passionate defense of the 13th century ars antiqua style against the new " dissolute and lascivious " ars nova style, mentioned hearing a composition by Franco of Cologne, a motet in three voices.

Szavolcsi notes the author of the Sándor Codex ( early 16th century ), who described secular music as accompanied by " fiddle, lute, drums and cimbalom ... and used tenor, discant and contratenor " singers, meaning it was in the style of the motet.

Though the anthem of the Church of England is analogous to the motet of the Roman Catholic and Lutheran Churches, both being written for a trained choir and not for the congregation, it is as a musical form essentially English in its origin and development.

An example is the 40-part choral motet Love You Big as the Sky by British composer Peter McGarr ( commissioned for the Tallis Festival 2007 ).

In classical music, motet is a word that is applied to a number of highly varied choral musical compositions.

" The Medieval Latin for " motet " is motectum, and the Italian mottetto was also used.

Grocheio believed that the motet was, " not intended for the vulgar who do not understand its finer points and derive no pleasure from hearing it: it is meant for educated people and those who look for refinement in art.

Instead, the Renaissance motet is a polyphonic musical setting, sometimes in imitative counterpoint, for chorus, of a Latin text, usually sacred, not specifically connected to the liturgy of a given day, and therefore suitable for use in any service.

This is the sort of composition that is most familiarly designated by the term " motet ," and the Renaissance period marked the flowering of the form.

There is also a cantata that is classified, in its entirety, as a motet.

The motet Sei Lob und Preis mit Ehren ( BWV 231 ) is spurious ; it is part of a cantata by Telemann.

Most often choirs consist of four sections intended to sing in four part harmony, but there is no limit to the number of possible parts as long as there is a singer available to sing the part: Thomas Tallis wrote a 40-part motet entitled Spem in alium, for eight choirs of five parts each ; Krzysztof Penderecki's Stabat Mater is for three choirs of 16 voices each, a total of 48 parts.

Finally, and perhaps most remarkably, Byrd's Quomodo cantabimus is the result of a motet exchange between Byrd and Philippe de Monte, who was director of music to the Holy Roman Emperor, Rudolf II, in Prague.

Since many of the motet texts of the 1589 and 1591 sets are pathetic in tone, it is not surprising that many of them continue and develop the ' affective-imitative ' vein found in some motets from the 1570s, though in a more concise and concentrated form.

A good example of the transfer system in operation is provided by the first motet from the 1605 set ( Suscepimus Deus a5 ) in which the text used for the Introit has to be reused in a shortened form for the Gradual.

He is also known as Josquin Desprez and Latinized as Josquinus Pratensis, alternatively Jodocus Pratensis, although he himself expressed his preferred spelling of his name, Josquin des Prez, in an acrostic in his motet Illibata Dei virgo nutrix.

He then traveled to Ferrara to the Este court where he wrote the motet “ La mi la sol la sol la mi ” in merely two days and competed with Josquin for employment: a famous letter from the agent of the Este family compared the two composers, saying that " is of a better disposition among his companions, and he will compose new works more often.

Another famous motet by Isaac is Optime pastor ( Optime divino ), written for the accession to the papacy of Medici pope Leo X.

The only known commemorative music composed after the victory is the motet Canticum Moysis ( Song of Moses Exodus 15 ) Pro victoria navali contra Turcas by the Spanish composer based in Rome Fernando de las Infantas

While it is well known that Leonin composed a great deal of organum, it was the innovations of Perotin, who spent much of his time revising the organum purum of Leonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.

An example of a Notre Dame motet is Salve, salus hominum / O radians stella / nostrum by Perotin, composed between 1180 and 1238.