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Stylistically chorale motets were similar at first to motets composed in , and later the Chorale Cantata . The chorale cantata was to become the most substantial of the descendants of the chorale motet, and eventually culminated in the work of J.S. Bach. Composers of early chorale motets included Johann Walter , who typically used a cantus firmus type of motet setting; Balthasar Resinarius , who wrote in the complex polyphonic style; Sixt Dietrich , who chose the simpler homophonic style; and Ludwig Senfl , Lupus Hellinck , Thomas Stoltzer , and others. Some of these composers were Roman Catholic: the Thirty Years War had not yet torn Germany apart, and composers from both branches of Christianity were still mixing freely. Between the late . Around 1600 a new group of composers, many of whom had studied in Italy, brought new ideas to the chorale motet. Some of these composers were among the most famous and talented in Europe, including Melchior Franck , Hans Leo Hassler , and the spectacularly prolific Michael Praetorius . Praetorius's ''Musae Sioniae'' ( 1605 - 1610 ), an enormous collection of approximately 1200 pieces, includes some of the finest and most advanced examples of the form; however, by this time the chorale concerto and other types of chorale settings were beginning to eclipse the chorale motet as a primary means of expression for the German chorale. REFERENCES AND FURTHER READING
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