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Jusqu’à la fin de la Renaissance, le motet reste stylistiquement proche de la messe polyphonique. Écrit pour des effectifs Voice identical, these two genera are marked by an intensive use of the same tricks of imitative counterpoint inherited from the Franco-Flemish composers, which are mixed figures inspired by the art of oratory. Yet at the same time, factors of a gradual "empowerment" of the motet multiply. In the courts of northern Italy in fact elaborated a theory of declamation in music that will promote the emergence of the seconda prattica (second practice) of Monteverdi and his contemporaries. From the early seventeenth century, singing of poetry - whether secular or sacred madrigal in the motet - will no longer be in the dark and expressive declamatory effects of this new style. The changing status of the text of the Mass will also accentuate the divide: its canonicity and its invariance promote his musical treatment in a style "intangible" (said quickly, that of Palestrina), while the anthem is rather open, as on the literary and musical, to changing tastes and needs of his time. The motets
offered by all Messa di voce perfectly illustrate this dive of the motet in the current transformation of the music as "baroque." Those of Monteverdi, in fact, madrigals published by the composer in 1605. Shortly thereafter, the Milanese scholar Aquilino Coppini manufacture custom Latin texts adapted perfectly to the music of Monteverdi. Through this, Coppini proposed to transfer to church music's most modern and certainly the most exciting beginning of seicento. Less programmatic motets of Guillaume and Etienne Bouzignac Moulinié rather reflect the changing uses of musicians in the service of French cathedrals from the 1630s. If traditional polyphony remains the basis of their expertise, know these musicians also use the bass (that is to say, the accompanying by the organ, then little known in France) or alternating between choral passages and stories of soloists. Their anthems become the real "stories" to tell (the Nativity, for example), or recreate a lively and contrasting the biblical canticles (the Benedictus), the texts usually associated with Marian devotion (the Song of Songs) and those dedicated to the Blessed Sacrament (O Salutaris).
Ultimately, each in their way, these composers testify to the plasticity of the motet, as well as its ability to meet the aesthetic and spiritual needs of post-Tridentine Catholicism.