ABSTRACT
The modal characteristics of the tonus peregrinus, especially by way of polyphonic application, prepared in some vital respects for the systems of twelve modes so much is obvious from the sixteenth-century discourse. Nonetheless, the extended modal system gave rise to a lack of congruity between the psalm-tones and the modes. The rationalistic humanist music theory was very sensitive to exhibitions of incoherence. Certain practical-cum-liturgically orientated scholars persevered further in their attempts to synthesize traditional music theory with Zarlinian thought. Zarlino's renumbering of the modes was, however, anticipated by that of the Swiss humanist scholar Henricus Glareanus. Before the author's enter further into the Dodekachordon, they establish a difference between the Gregorian psalm-tones and a system of voice-leading rules on which much theory from the generation before Glareanus had rested. The author's also discuss some connections between the Phrygian and Aeolian mode pairs in relation to the tonus peregrinus.
