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. Though originally these words were used to designate a vocal part, they are now used to describe singers of that part, whose vocal techniques may differ (see below).