määtöt

The term *mûtét* refers to a type of sacred polyphonic choral music that originated in the 16th century, primarily within the Catholic liturgical tradition. The name derives from the Latin *mūtum*, meaning "silent" or "mute," as the music was often performed with the congregation singing the plainchant (the *proprium*) in unison while the choir added polyphonic elaborations. This practice allowed the congregation to follow along without needing to read the complex polyphony.

Mûtéts were typically composed for specific liturgical occasions, such as feasts of saints or major church festivals. They were often written for a small ensemble of voices, including soprano, alto, tenor, and bass, though some included additional instruments like viols or harpsichords. Composers like Orlando di Lasso, Guillaume Dufay, and Jacques Arcadelt contributed notable examples of the genre, blending intricate counterpoint with devotional text settings.

Unlike motets of the Renaissance, which were often secular or based on non-liturgical texts, *mûtéts* were strictly liturgical, serving as an extension of the Mass or Office. Their structure often included a short, expressive text set to elaborate polyphony, contrasting with the simpler, more direct plainchant. The genre declined in popularity after the Council of Trent (1545–1563), which sought to simplify liturgical music in favor of clarity and congregational participation, though it remained influential in the development of polyphonic choral music.

Today, *mûtéts* are studied as important examples of early sacred music, showcasing the technical skill and spiritual depth of Renaissance composers. They continue to be performed in historical performances and modern choral repertoire, offering insight into the evolution of Western music.