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In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically interdependent yet independent in rhythm and melodic contour. [1] The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note".
Later on, the term came to mean the treble or soprano singer in any group of voices, or the higher pitched line in a song. Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common.
Most of the other terms are taken from French and German, indicated by Fr. and Ger., respectively. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time.
In music, counterpoint is a texture involving the simultaneous sounding of separate melodies or lines "against" each other. Counterpoint may also refer to: Music
Cambiata, or nota cambiata (Italian for changed note), has a number of different and related meanings in music.Generally it refers to a pattern in a homophonic or polyphonic (and usually contrapuntal) setting of a melody where a note is skipped from (typically by an interval of a third) in one direction (either going up or down in pitch) followed by the note skipped to, and then by motion in ...
[4] [5] The term "round" only first came to be used in English sources in the 16th century. [6] Canons featured in the music of the Italian Trecento and the 14th-century ars nova in France. An Italian example is "Tosto che l'alba" by Gherardello da Firenze. In both France and Italy, canons were often featured in hunting songs.
Seeking a more positive definition, the Conservative Political Action Conference, or CPAC, defines conservatism as "the political philosophy that sovereignty resides in the person.
Instead of a single central plot, there are a number of interlinked story lines and recurring themes (as in musical "counterpoint"). [6] As a roman à clef , [ 7 ] many of the characters are based on real people, most of whom Huxley knew personally, such as D. H. Lawrence , Katherine Mansfield , Nancy Cunard , and John Middleton Murry , and ...