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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".
Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 – 2 February 1594) [n 1] was an Italian composer of late Renaissance music.The central representative of the Roman School, with Orlande de Lassus and Tomás Luis de Victoria, Palestrina is considered the leading composer of late 16th-century Europe.
Symbol at the very end of a staff of music which indicates the pitch for the first note of the next line as a warning of what is to come. The custos was commonly used in handwritten Renaissance and typeset Baroque music. cut time Same as the meter 2 2: two half-note (minim) beats per measure. Notated and executed like common time (4
Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common. Descant can also refer to the highest pitched of a group of instruments, particularly the descant viol or recorder. Similarly, it can also be applied to the soprano clef.
He wrote the first dictionary of musical terms (the Diffinitorium musices); a book on the characteristics of the musical modes; a treatise on proportions; and three books on counterpoint, which is particularly useful in charting the development of voice-leading and harmony in the transitional period between Du Fay and Josquin. The writings by ...
[clarification needed] The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader; that is, in a typical canon, a follower cannot come before the leader (for then the labels 'leader' and 'follower' should be reversed) or at the same time as the leader (for then two lines ...
Musica ficta (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo.
Benedetto Varchi, by Titian. Paragone (Italian: paragone, meaning comparison), was a debate during the Italian Renaissance in which painting and sculpture (and to a degree, architecture) were each championed as forms of art superior and distinct to each other. [1]