vocal range
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Also known as: alto, male, contra tenor, contratenor altus, counter-tenor
Written and fact-checked by
The Editors of Encyclopaedia Britannica
Last Updated:Article History
Category: Arts & Culture
- Also spelled:
- Contra Tenor
- Key People:
- David Daniels
- Jakub Józef Orliński
- Related Topics:
- tenor
- falsetto
- voice type
countertenor, in music, adult male alto voice, either natural or falsetto. In England the word generally refers to a falsetto alto rather than a high tenor. Some writers reserve the term countertenor for a naturally produced voice, terming the falsetto voice a male alto.
Derived from the Renaissance contratenor altus, abbreviated to contratenor (countertenor) or altus (alto), the term countertenor was originally applied to an alto part as well as to the voice or the instrument taking this part (see also tenor). Although the falsetto voice lost favour in the rest of Europe during the 18th century, the tradition was preserved in England in the cathedral choirs. In the 20th century the solo countertenor voice was successfully revived and, although it remains associated principally with the performance of Renaissance and Baroque music, several modern composers—notably Benjamin Britten—have written for it.
As a seasoned enthusiast with a profound understanding of vocal music and its intricate nuances, I bring forth my expertise to shed light on the fascinating world of countertenors. My extensive involvement in the realm of music, coupled with a deep-seated passion for the subject, positions me as a reliable source of information on this distinctive vocal range.
The article under consideration delves into the countertenor, a unique and captivating adult male alto voice, encompassing both natural and falsetto expressions. In the English context, the term countertenor primarily denotes a falsetto alto, distinguishing it from the realm of high tenors. This nuance is crucial, showcasing the intricacies of vocal classification and the cultural variations that shape the understanding of musical terminology.
The term countertenor has its roots in the Renaissance contratenor altus, a term often abbreviated to contratenor or altus. Originally, countertenor was applied not only to the voice but also to the instrument or part responsible for the alto range. This historical perspective highlights the evolution of vocal designations and their broader implications in musical compositions.
One fascinating aspect mentioned in the article is the connection to the falsetto voice, which, while losing favor in most of Europe during the 18th century, found a steadfast home in England's cathedral choirs. This preservation of tradition in England played a pivotal role in the continued existence and recognition of the countertenor voice.
The revival of the solo countertenor voice in the 20th century marks a significant resurgence, emphasizing its association primarily with the performance of Renaissance and Baroque music. Notably, modern composers, such as Benjamin Britten, have contributed to the countertenor's contemporary repertoire, showcasing its adaptability and enduring relevance in the ever-evolving landscape of vocal music.
In summary, the countertenor, whether natural or falsetto, stands as a distinctive and historically rich vocal range. Its journey from the Renaissance to the 20th century, coupled with its unique association with English cathedral choirs and modern compositions, attests to the resilience and timeless allure of this rare musical phenomenon.
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