Although theorists have examined various aspects of the canonic genre, scant attention has been given to the polymorphic canon, a designation which Prout bestowed on those pieces with multiple solutions. This article focuses on two prototypical examples, the anonymous Non nobis Domine and a seven-measure dux by G. H. Stölzel quoted in Marpurg’s Abhandlung, from whose analyses we may extract recurring melodic paradigms prior to providing practical guidelines for their composition.
"The Analysis and Composition of Polymorphic Canons,"
Journal of Music Theory Pedagogy: Vol. 33, Article 2.
Available at: https://digitalcollections.lipscomb.edu/jmtp/vol33/iss1/2