ABSTRACT
This chapter presents the separate coverage of the works rather than their distinct and manifest deviation from exclusively Lutheran idioms. The sixteenth century saw the gradual development of distinct regional styles, and it has been noted that composers of northern Europe favoured a type of polyphony based on strict thematicism at a time when other cultural environments sought liberation from cantus firmus techniques. It is likely that the composer would have structured this work in canon throughout, had not brevity been a prerequisite in didactic example of this kind. As it stands, the technique could be described as total thematicism', using the cantus prius factus in all parts and introducing free part-writing only when this is necessitated by a final cadence. The works discussed in this chapter, although different among themselves as regards idiom, function and compositional pattern, have many stylistic features in common, and it is highly interesting that several of these are directly connected with the tonus peregrinus.
