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The paper examines methodological approaches to sixteenth-century settings that do not have a cantus firmus and are not based on vocal models, such as toccatas, intonations, preludes, and similar forms. In the first part of the paper, the results of these analytical methods as they relate to instrumental music genres before 1600 are summarized and critically examined. In the second part, the author proposes another methodological approach for this repertoire, namely, the use of musical commonplaces, thus fundamentally altering the perspective of how this repertoire is viewed. [ABSTRACT FROM AUTHOR]