As part of his policy to establish French artistic supremacy in Europe, Louis XIV encouraged the development of a national musical style spearheaded by two genres that differed radically from anything composed abroad: the tragédie en musique and the motet à grand chœur. The role of Jean-Baptiste Lully in giving the former its distinctive character is well known. But although he never held an official post in the Chapelle du Roi, Lully also played a crucial part in shaping the grand motet, as the genre is nowadays anachronistically known. His eleven motets of this kind, mostly written for state occasions, brought to the genre a new breadth and character that it retained for the best part of a century.

中文翻译：

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法国巴洛克式杂记

作为他在欧洲建立法国艺术霸主地位的政策的一部分，路易十四鼓励发展一种由两种与国外创作的任何音乐截然不同的流派带头的民族音乐风格：tragédie en musique和motet à Grand chœur。让-巴蒂斯特·卢利 (Jean-Baptiste Lully) 在赋予前者独特个性方面的作用众所周知。但是，尽管他从未在 Chapelle du Roi 担任过正式职务，但 Lully 在塑造宏伟的颂歌方面也发挥了关键作用，因为这种流派如今已不合时宜。他的 11 首这样的颂歌，大部分是为国家场合而写的，为这一流派带来了一个新的广度和特征，它保留了一个世纪的大部分时间。