In conclusion, the motet, “O Magnum Mysterium,” is a great example of liturgical polyphony from the sixteenth century.  Victoria has such a talent to blend music and text, to evoke the presence of God.  He used polyphony for spiritual sections of the song, while he applied homophony to points where the text was most important.  He made sure that the liturgical text was the most important part to bring forth the glory of God.  His style is different from that of its beginnings in the thirteenth century.  For example, the early motet had either two or three voices, while the motets of this period usually had four.  Another difference is the text being used in “O Magnum Mysterium” is the same throughout the voices, while the motets of the thirteenth century had multiple lines of text, which could have all been in different languages.  Another thing that separates this motet from its predecessors is that it is entirely liturgical and has no secular text or meanings.  This helps polyphony maintain its importance in the Catholic Church.  This piece gives the listener that feeling of divine influence as the music just flows over them.   The imagery of the infant Jesus Christ, the blessed virgin Mary, and the great mystery and power of God.  The rise and fall of the text painting, the switch between homophony and polyphony, the change of polyrhythm and homo-rhythm, and the multiple meter shifts all give “O Magnum Mysterium” its unique qualities such as the leap of a fifth with the resolution of the semi-tone, and the way Victoria could bring about such spirituality in his music, that have given it a place among one of the more beautiful motets in history. (Harmon)