经文歌(motet)
用拉丁文唱的宗教合唱曲，一般只有一个节奏。起源於13世纪，原是旧曲配新词。由奥加农一部分的复调装饰乐克劳苏拉（clausula）直接发展而来，後来分开成单独的乐曲，同时保留圣咏歌词无意义的片断，高音部分则保留有旋律。前半部分通常是圣诗或世俗诗甚至是反教会诗的结合，表明其通常是在宫廷或宗教场所演奏的。经文歌是13世纪最重要的音乐类型，也是发展复调音乐的基本工具。文艺复兴时期的圣经文歌（现在只有单段歌词），由一些作曲家如若斯坎.德普雷、拉索和伯德等创作，但是经文歌在教堂演奏的频率无从知晓。17～18世纪，卢利、夏庞蒂埃、舒次和巴哈都曾创作过经文歌。约1750年後这种音乐类型逐渐衰退，其显着的特点也变得松散。
English version：
motet
Latin choral composition, generally in one movement. Its origins are in the 13th century, when words (French, mots) began to be added to originally wordless polyphonic lines in settings of plainchant. It grew directly out of the clausula, a polyphonic decoration of a portion of organum, but soon split off to become a separate composition, while retaining a meaningless fragment of chant text and melody in the tenor part. The upper texts often became a confusing mixture of sacred and secular—and even anticlerical—poems, indicating its intended performance in courtly as well as ecclesiastical settings. The motet was the most important musical genre of the 13th century and an essential vehicle for the development of polyphony. In the Renaissance sacred motets, now employing a single text, were written by such composers as Josquin des Prez, Orlande de Lassus, and W. Byrd, though it remains unclear how often they were performed in church settings. In the 17th-18th century, motets were written by J.-B. Lully, M.-A. Charpentier, H. Schutz, and J.S. Bach. After c. 1750 the genre declined and its distinguishing characteristics became diffuse.