The motets of J. S. Bach are probably the most sophisticated works
ever composed in the genre. Nevertheless, Daniel Melamed maintains,
the view that they constitute a body of work quite separate from
the German motet tradition is mistaken. He starts by considering
the eighteenth-century understanding of the term itself and finds
that Bach's own use does indeed agree with his contemporaries and
that his motets are rooted in the conventions of the time,
particularly in matters of musical construction, performing forces,
and type of text. A fresh look at the repertory shows that Bach
composed motets all through his career and an appreciation of the
contemporary conception of the motet sheds light on questions of
how and why Bach himself used the form. Professor Melamed also
finds plenty of evidence that motets and motet style played an
important role in Bach's exploration of the musical past.
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