The Marian music in the
baroque period is strongly influenced by the Latin tradition, but develops its own characteristics. Marian songs venerate her exceptional sanctity. Many Marian songs have the form of litanies, expressing veneration of Mary. Others moralize the faithful in light of her virtuous life. In
Poland and
Hungary, baroque Marian compositions stress her national protective powers for the Polish and Hungarian nation, an aspect largely missing in Italy, France, and Germany, where Mary is likely to be called upon to protect a city or region rather than a nation. Many Latin Marian hymns are now translated into a vernacular language, especially in Germany under the influence of Lutheran use of the
vernacular in
liturgy. Latin texts are often enriched with flowery reverences and Marian praises. Like Marian poetry, Marian music has flourished most in Italy, Spain, Portugal, and France, countries uninfluenced by the reformation. Before the German
secularisations of 1802 many religious congregations had their own composers. In the monastery of
Andechs, Father Nonnosus Madleder, in
Ottobeuren, Father Franx Schnizer, in
Irsee, Father Meinrad Spiess, and in Banz, Father
Valentin Rathgeber, OSB, (1682–1750): 43 Masses, 164 offertories, 24 concerts, and 44 Marian antiphones. ==Marian music in the Enlightenment era==