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In polyphonic compositions of the 14th and early 15th centuries, the contratenor was a voice part added to the basic two-part contrapuntal texture of discant (superius) and tenor (from the Latin tenere which means to hold, since this part "held" the music's melody, while the superius descanted upon it at a higher pitch). Though having approximately the same range as the tenor, it was generally of a much less melodic nature than either of these other two parts. With the introduction in about 1450 of four-part writing by composers such as Ockeghem and Obrecht, the contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. Later the term became obsolete: in Italy, contratenor altus became simply altus, in France, haute-contre, and in England, countertenor.
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By the 15th century the highest musical line was named discantus (whence modern 'descant'), From dis- "asunder, apart" + cantus, "song": Originally "counterpoint". or superius, 'highest': and the contratenor developed into the medium-high contratenor altus (hence modern 'countertenor' and 'alto') and the lower contratenor bassus, or modern bass. These terms are applied to music for any mix or range of voices, both a voce piena and a voce equale. Aurelio Virgiliano ("Il Dolcimeo"): Nuova Intravolatura di Tromboni per Sonarli in Concerto (c. 1600).
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The Philippine Madrigal singers had performed various arrangements from some Choral Arrangers/Composers like Josu Elberdin (Particularly Psalm 96, Cantate Domino). They also sang arrangements from Filipino Composers including Robert Delgado ( Allen Pote-Prayer of St. francis), Anna Abeleda-Piquero (Circle of Life- Lion King OST), Nilo Alcala (Dayo Dayo Kupita at the Florilege Vocal de Tours in France, and Kaisa-isa Niyan, which was part of their winning repertoire at the 2007 European Grand Prix for Choral Singing in Arezzo, Italy). Some of their members like Saunder Choi (Tenor 2) and Ily Matthew Maniano (Contratenor altus) also arrange and compose songs for the group.
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In choral music for mixed voices, "alto" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic cantus or superius against a tenor (from Latin tenere, to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrote two contratenor parts and designated them as contratenor altus and contratenor bassus; they were respectively higher and lower than the tenor part.
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