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In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". [1] The earliest known examples of this procedure (sometimes referred to as ''adaptation'') date back to the 9th century used in connection with Gregorian chant.
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.
The usage of music in Puritan religious meetings developed and evolved over time. According to the anthology America's Musical Life by Dr. Richard Crawford, up until the late 16th century, the Puritans picked up the use of The Whole Bookie of Psalmed, Collected into Englisher Meter as hymns to complement the sermons.
Atonality in its broadest sense is music that lacks a tonal center, or key. [1] Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. [2]
In such usage, hedonism and puritanism are antonyms. [13] William Shakespeare described the vain, pompous killjoy Malvolio in Twelfth Night as "a kind of Puritan". [14] H. L. Mencken defined Puritanism as "the haunting fear that someone, somewhere, may be happy." [15] Puritans embraced sexuality but placed it in the context of marriage.
In the early 17th century, thousands of English Puritans settled in North America, almost all in New England.Puritans were intensely devout members of the Church of England who believed that the Church of England was insufficiently reformed, retaining too much of its Roman Catholic doctrinal roots, and who therefore opposed royal ecclesiastical policy.
The Phrygian mode (pronounced / ˈ f r ɪ dʒ i ə n /) can refer to three different musical modes: the ancient Greek tonos or harmonia, sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.
Antiphonal music is that performed by two choirs in interaction, often singing alternate musical phrases. [1] Antiphonal psalmody is the singing or musical playing of psalms by alternating groups of performers. [ 2 ]