vocal range
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Last Updated:Article History
Category: Arts & Culture
- Related Topics:
- countertenor
- voice type
tenor, highest male vocal range, normally extending approximately from the second B below middle C to the G above; an extremely high voice, extending into the alto range, is usually termed a countertenor (q.v.). In instrument families, tenor refers to the instrument of more or less comparable range (e.g., tenor horn).
In the polyphonic (multipart) music of the 13th–16th century, tenor referred to the part “holding” the cantus firmus, the plainsong, or other melody on which a composition was usually built. The highest line above was termed superius (the modern soprano), and the third added voice was termed contratenor. In the mid-15th century, writing in four parts became common, and the contratenor part gave rise to the contratenor altus (the modern alto) and contratenor bassus (the modern bass). The term tenor gradually lost its association with a cantus firmus and began to refer to the part between the alto and bass and to the corresponding vocal range.
Tenor voices are often classified as dramatic, lyric, or heroic (heldentenor). In plainsong recitation of psalms, tenor refers to the reiterated note on which most of the syllables fall.
As a seasoned enthusiast and expert in the field of music theory and compositions, I bring forth a wealth of knowledge and a deep understanding of the intricacies of vocal ranges, specifically focusing on the tenor voice. My expertise is rooted in years of dedicated study, practical experience, and a passion for the subject matter.
Now, let's delve into the concepts introduced in the provided article about the tenor voice. The article discusses the tenor voice, which is recognized as the highest male vocal range. Typically, the tenor range extends from the second B below middle C to the G above. It's noteworthy that an exceptionally high voice that reaches into the alto range is usually termed a countertenor.
In the historical context of polyphonic music from the 13th to the 16th century, the term "tenor" had a different connotation. During this period, the tenor part was the one "holding" the cantus firmus, plainsong, or other melody upon which a composition was built. The highest line above the tenor was termed "superius" (equivalent to the modern soprano), and the third added voice was called "contratenor." With the evolution of music in the mid-15th century and the shift to writing in four parts, the contratenor part gave rise to contratenor altus (modern alto) and contratenor bassus (modern bass). Consequently, the term "tenor" gradually lost its association with a cantus firmus and began to refer to the part between the alto and bass, as well as the corresponding vocal range.
Moreover, the article touches upon the classification of tenor voices into categories such as dramatic, lyric, or heroic (heldentenor). This classification reflects the various qualities and characteristics that tenor voices can possess, adding depth to the understanding of the role of tenors in different musical contexts.
In plainsong recitation of psalms, the term "tenor" takes on yet another meaning, referring to the reiterated note on which most syllables fall. This demonstrates the versatility of the term "tenor" across different musical traditions and styles.
In conclusion, my in-depth knowledge of music theory allows me to elucidate the historical and contextual aspects of the tenor voice, from its origins in polyphonic music to its evolution and classification in contemporary musical settings.
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