Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music

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Contents: Preface
Theory, method and conventions
Historical background of the tonus peregrinus in monophonic practice
Singled out as a model: the tonus peregrinus in polyphony before 1500
The role of the tonus peregrinus in the extended modal systems of Glareanus and Zarlino
The rise of an idiom: the tonus peregrinus in French court liturgies of the 16th century
Ambitious obbligo or lack of invention: the tonus peregrinus in Italian-speaking areas during the 16th century
Liberty with rigour: the tonus peregrinus in 16th-century Iberian music
Total thematicism and multi-texted motets: the tonus peregrinus in 16th-century Roman Catholic liturgies of Northern and Central Europe
Mit Szonderlicher Ziemlicher Weisz: the tonus peregrinus in 16th-century Lutheranism
In Faburden and upon Faburden: the tonus peregrinus in 16th-century English liturgies
One applied and one discreet method: the tonus peregrinus in Roman Catholicism 1600-1750
A hand-maiden of many different voices: the tonus peregrinus in Lutheranism 1600-1750
The continuing tradition: the tonus peregrinus in music after 1750
Conclusions
Bibliography
General index.

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Mattias Lundberg investigates the historical role of a deviant psalm-tone, the tonus peregrinus, focusing on its applications in polyphonic music within all major branches of Western liturgy. Throughout the remarkably persistent tradition of applying this melody to polyphony, from the ninth century right up to the twenty-first, coeval music theory is able to shed light on the problems it has posed to modal and tonal practice at various historical stages. The musical settings studied hold up a mirror to the general development of psalmody, concerning practices of organum, diverse regional forms of fauxbourdon, cantus firmus composition, free imitation, parody, fugue, quodlibet, monody, and many other compositional techniques where the unique features of the psalm-tone have necessitated modification of existing practices. The conclusions drawn reveal a musico-liturgical tradition that was not in real danger of extinction until the general decline of Western liturgy that followed in the eighteenth century, at which point the historiography of the tonus peregrinus became a factor stimulating scholarly and musical interest in its alleged pre-Christian origins. Lundberg demonstrates that the succession of works based on the tonus peregrinus often preserved a distinctly conservative musical and theological conception even during periods of drastic liturgical reform.

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Lundberg has widened the field of knowledge beyond anything previous, surely leaving as mere addenda any future contributions to the topic

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