In the preface to his Geistliche Chor-Music (1648), Heinrich Schütz looked back at the styles of sacred music in previous decades, encouraging fellow composers to persist in cracking the ‘hard nut’ of counterpoint as found in motets in 16th-century style. His comments outlined the diversity of performance possibilities for church music in the early 17th century. Motets in the old style, without basso continuo, could be sung at the lectern (implying vocalists only) or by a full choir with voices and instruments. Some motets in this old style could be performed one-to-a-part with a mix of instruments and voices (using organ accompaniment) or antiphonally. Then there was the more modern style of the vocal concerto with basso continuo and possibly further obbligato instruments.

中文翻译：

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1620 年代 Schütz 和 Schein 的神圣音乐

在他的Geistliche Chor-Music (1648)的序言中，Heinrich Schütz 回顾了过去几十年的神圣音乐风格，鼓励其他作曲家坚持破解 16 世纪风格的经文颂歌中的对位的“硬核” . 他的评论概述了 17 世纪早期教堂音乐表演的多样性。老式的，没有低音连续性的小号可以在讲台上唱歌（仅暗示歌手），也可以在充满声音和乐器的合唱团中唱歌。这种旧风格的一些颂歌可以通过乐器和人声的混合（使用管风琴伴奏）或对唱进行一对一演奏。然后是声乐协奏曲与更现代风格的数字低音 可能还有更多的义务文书。