ABSTRACT
The unbroken falsobordone tradition that people are outlining had such deep-rooted connections with psalmody that it served as a basis also for genres that were new to the period under discussion, even ones primarily connected with secular music. In treatment of the thematic material Severi is more conservative than the composers covered so far in this chapter, and his approach to the tonus peregrinus resembles that of his fellow Sistine chorister Allegri. Two tonus peregrinus organ settings by Johann Pachelbel is discussed in the chapter, since even though Pachelbel wrote much of his music for Catholic liturgies, these items clearly belong to the sphere of Lutheran liturgy as settings of the German Magnificat. The tonus peregrinus Benedicite in the first Prayer Book proposed a rhythm based on a Germanic vernacular never before, it can safely be assumed, accustomed to such singing.
