Musica ficta
As Musica ficta (from Latin fingere, PPP Fictum " make, ( to ) form "; Musica falsa also " imitation, fake" from Latin falsus; German about "different sound " ) were in music theory from the beginning of the 13. century refers to those sounds that do not occur according to the Solmisationssystem in a hexachord and are accessible only by accidentals ( and ) or transposition of the hexachord a uncustomary output sound as conductor own. The term initially referred solely to the hexachord, and later on scales. One reason for this was to avoid the tritone as diabolus in musica, where the interval designation falsa quinta (about: " modified fifth " ) stems.
Until the 14th century to the 11th century, the traditional name was falsa used until the term ficta in the light of altered music practice enforce begins. The falsa attribute holds still until the 16th century, for example at Gioseffo Zarlino, but is used more for interval relations. This observation chief foreign sounds that were not already listed and appear only in modern editions in the score, as " unnatural" in the sense of Hexachordsystems, is in contrast to contemporary vocal and instrumental music. Since the beginning of the 12th century, the organ music had used all chromatic semitones.
The practical use of the fictae thereby distinguished the necessitatis causa (Latin for " necessity" ) to avoid the contrapuntal writing a dissonance of the causa pulchritudinis (Latin: " Due to the beauty of tone " ) aesthetic considerations of composers. With the temperament of the term in the 16th century finally lost in importance.