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A contrafact is a musical work based on a prior work. The term comes from classical music and has only since the 1940s been applied to jazz, where it is still not standard
A fiction writer is thus free to invent very specific events and characters in the imagined history. An example of a counterfactual question would be: "What if the Pearl Harbor attack did not happen?"; whereas an alternate history writer would focus on a possible series of events arising therefrom.
In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody. In other words, it is a secondary melody played in counterpoint with the primary melody.
A musical hoax (also musical forgery and musical mystification) is a piece of music composed by an individual who intentionally misattributes it to someone else. [ 1 ] Ascribed to historical figures
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".
Hymn tune descants are counter-melodies, generally at a higher pitch than the main melody. Typically they are sung in the final or penultimate verse of a hymn. [9]Although the English Hymnal of 1906 did not include descants, this influential hymnal, whose music editor was Ralph Vaughan Williams, served as a source of tunes for which the earliest known hymn tune descants were published.
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In music, parody has been used for many different purposes and in various musical contexts: as a serious compositional technique, as an unsophisticated re-use of well-known melody to present new words, and as an intentionally humorous, even mocking, reworking of existing musical material, sometimes for satirical effect.