The manner in which two or more melodic lines are combined and juxtaposed to produce pleasing and technically correct intermingling. A Bach fugue is the essence of high counterpoint; so, too, is the repertoire of Renaissance vocal polyphony. But all good composition requires a sense of counterpoint: a good, pleasing fit between the various lines or voices.
the combination of two or more melodic lines, in which the horizontal motion of one part may be perceived and differentiated from the simultaneous horizontal motion of another, at the same time. Counterpoint has been a characteristic of Western music that has differentiated it from other cultures for about nine centuries. Counterpoint has often been distinguished from "harmony," which refers to the vertical aspect of music whereby combinations of pitches are sounded simultaneously.
The art of combining two or more musical lines that are to be played or sung simultaneously. These lines may be said to be "in counterpoint" with each other. The term is in some ways synonymous with polyphony, although counterpoint is most commonly used for Baroque music; polyphony for music from the Medieval and Renaissance periods. The rules of counterpoint were codified from the music of Palestrina by J.J. Fux in his 1725 treatise, Gradus ad Parnassum ( Steps to Parnassus).
In music, counterpoint is the relationship between two or more voices that are independent in countour and rhythm, and interdependent in harmony. It has most commonly been identified in Western music, developing strongly in the Renaissance, and also dominant in much of the common practice period, especially in Baroque music. The term comes from the Latin punctus contra punctum ("note against note").
Counterpoint (Kontrapunkt in the original German) is the second volume of Heinrich Schenker's New Musical Theories and Fantasies (the first is Harmony and the third is Free Composition). It is divided into two "Books", the first published in 1910, and the second in 1922.
Counterpoint (1948-1969) was an American Thoroughbred racehorse. Sired by 1943 U.S. Triple Crown champion Count Fleet, as a yearling he injured an ankle bone severely enough that his racing future was put in doubt.