ABSTRACT
This chapter presents a course of development totally different from that described in. A tierce de Picardie appears at one point also in an anonymous tonus peregrinus setting, which people will discuss shortly, but there the bass produces a d/f gymel, whereas Caustun's case may be interpreted as a migration of the cantus firmus from the tenor to the bass. One surviving work based on the In exitu Israel melody that has already been encountered in must, however, be briefly discussed. This interpretation has some significance for people topic, since it seems that the English Church of the mid-sixteenth century preserved the tradition of procession to the baptismal font during Easter Vespers. The idiosyncratic qualities of the English language played no small part in how the tonus peregrinus was treated in English music, especially in the latter part of the sixteenth century.
