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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.
A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
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".
The term comes from classical music and has only since the 1940s been applied to jazz, where it is still not standard. In classical music, contrafacts have been used as early as the parody mass and In Nomine of the 16th century.
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
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A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance and particularly in English music into the eighteenth century. The term describes a "chromatic contradiction" [1] between two notes sounding ...
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