ABSTRACT
The author's discuss some special circumstances of French liturgies, but they do not really propose to discuss the tonus peregrinus here within any particular liturgical tradition. The tonus peregrinus variant is so rare that its presence here seems to provide further evidence that the In exitu Israel motets of Mouton, Sermisy and Josquin belong to the same liturgical context. Our reason for assuming Mouton's work to be earlier is the fact that he was much more closely connected with the most credible liturgical application of the motets: the French court liturgy. It is in a way ironic that an idiom that may have been shaped to a significant degree by rather specific political and cultural circumstances the French court liturgy came to influence the entire Western Christian world. There is a tendency in Lauda anima mea Dominum to retain the tonus peregrinus recitation dynamic of note-duration and harmony.
