Contrafactum


In vocal music, contrafactum is "the substitution of one text for another without substantial change to the music". The earliest known examples of this "lyrical adaptation" date back to the 9th century in Gregorian chant.

Categories

Types of contrafacta that are wholesale substitution of a different text include the following:

Significantly different lyrics in another language

While a direct translation that preserves original intent might not considered a "substitution", the lyrics of the following songs redone in another language have a substantially different meaning:
  • The melody of the French song Ah! vous dirai-je, maman is used in English for "Twinkle, Twinkle, Little Star", the "Alphabet Song", and "Baa, Baa, Black Sheep", while all of the following use the melody: the German Christmas carol "" with words by Hoffmann von Fallersleben, the Hungarian Christmas carol "", the Dutch "", the Spanish "", the Greek "Φεγγαράκι μου λαμπρό ", and the Turkish "Daha Dün Annemizin".
  • "Autumn Leaves" – French by Jacques Prévert, Music by Joseph Kosma, English by Johnny Mercer.
  • "Comme d'habitude", music by Claude François and Jacques Revaux, original French lyrics by Claude François and Gilles Thibaut, rewritten as "My Way" with English lyrics by Paul Anka. Before Anka acquired the English-language rights to the song, David Bowie had written a different set of lyrics to the same tune, titled "Even a Fool Learns to Love".
  • "For He's a Jolly Good Fellow", from French "Marlbrough s'en va-t-en guerre".
  • The "Wilhelmus", parts of which form the national anthem of the kingdom of the Netherlands, suffers from the same fate. It is based on "The tune of Chartres", specified by the Beggars Songbook of 1576–77 as that of a French song about the siege of the city of Chartres by the Prince of Condé and the Huguenots in the beginning of 1568. This song, with the title "Autre chanson de la ville de Chartres assiegée par le Prince de Condé, sur un chant nouveau", formed the base of "het Wilhelmus".

    Poems set to music

An existing tune already possessing secular or sacred words is given a new poem, which often happens in hymns, and sometimes, more than one new set of words is created over time. Examples include:
  • The words of What Child Is This? were fitted to the tune of the folksong "Greensleeves".
  • The Charles Wesley hymn text Hark! The Herald Angels Sing was fitted by William Hayman Cummings to a tune from Mendelssohn's Gutenberg cantata Festgesang.
  • The hymn tune "Dix" has been given several sets of words, among them As with Gladness Men of Old and For the Beauty of the Earth.
  • Monteverdi's "Quel augellin che canta", was transformed into "Qui laudes tuas cantat", using the sacred poem texts by Aquilino Coppini.
  • In Japan, the Scots song "Auld Lang Syne" has a new set of words in the song "Hotaru no hikari", and is used at graduation ceremonies. Another Western song, also reworked with different lyrics around the same period and used at graduation ceremonies, sometimes confused with "Hotaru", is "Aogeba tōtoshi".
  • A poem given the title " of Fort M'Henry" was set to a popular British tune and eventually became the current anthem of the United States.

    Self-reworking

A lyricist might re-cast his/her own song in the same musical but with new lyrics. Examples include:
  • Alan Jay Lerner with the number "She Wasn't You" / "He Isn't You" from the stage and film versions, respectively, of the musical On a Clear Day You Can See Forever.
  • Tim Rice with the number "Oh What a Circus" from the 1976 musical Evita. It has the same tune as "Don't Cry for Me Argentina" from the same show.
Other songs which have been re-written by the same writer with different lyrics include:
Intentional parody of lyrics, especially for satirical purposes, has been the core of the following musical acts:
Writers of contrafacta and parody tried to emulate an earlier song's poetic metre, rhyme scheme, and musical metre. They went further by also establishing a close connection to the model's words and ideas and adapting them to a new purpose, whether humorous or serious.
Humorous contrafacta might be called "parody" even without being especially satirical, for instance: