what is the diffence between contrapuntal & homophonic?

In music, counterpoint is the relationship between two or more voices that are independent in contour 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"). The adjectival form contrapuntal shows this Latin source more transparently.

In music, homophony (IPA [ho'mɒfəni], from Greek "homófonos", where ομοιο = the same, and φωνή = a sound, tone) is a texture in which two or more parts move together in harmony, the relationship between them creating chords. This is distinct from polyphony, in which parts move with rhythmic independence, and monophony, in which all parts (if there are multiple parts) move in parallel rhythm and pitch. A homophonic texture is also homorhythmic (or uses a "very similar rhythm"). However, in melody-dominated homophony, one voice, often the highest, plays a distinct melody, and the accompanying voices work together to articulate an underlying harmony. Initially, in Ancient Greece, homophony indicated music in which a single melody is performed by two or more voices in unison or octaves, i.e. monophony with multiple voices.
Homophony as a term first appeared in English with Charles Burney in 1776, emphasizing the concord of harmonized melody.

Contrapuntal derivations
Since the Renaissance period in European music, much music which is considered contrapuntal has been written in imitative counterpoint. In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia, the ricercar, and later, the canon and fugue (the contrapuntal form par excellence) all feature imitative counterpoint, which also frequently appears in choral works such as motets and madrigals. Imitative counterpoint has spawned a number of devices that composers have turned to in order to give their works both mathematical rigor and expressive range. Some of these devices include:

Melodic inversion: The inverse of a given fragment of melody is the fragment turned upside down—so if the original fragment has a rising major third (see interval), the inverted fragment has a falling major (or perhaps minor) third, etc. (Compare, in twelve tone technique, the inversion of the tone row, which is the so-called prime series turned upside down.) (Note: in invertible counterpoint, including double and triple counterpoint, the term inversion is used in a different sense altogether. At least one pair of parts is switched, so that the one that was higher becomes lower. See Inversion in counterpoint; it is not a kind of imitation, but a rearrangement of the parts.)
Retrograde refers to the contrapuntal device whereby notes in an imitative voice sound backwards in relation to their order in the original.
Retrograde inversion is where the imitative voice sounds notes both backwards and upside down.
Augmentation is when in one of the parts in imitative counterpoint the notes are extended in duration compared to the rate at which they were sounded when introduced.
Diminution is when in one of the parts in imitative counterpoint the notes are reduced in duration compared to the rate at which they were sounded when introduced.

Homophonic
In music, homophony (IPA [ho'mɒfəni], from Greek "homófonos", where ομοιο = the same, and φωνή = a sound, tone) is a texture in which two or more parts move together in harmony, the relationship between them creating chords. This is distinct from polyphony, in which parts move with rhythmic independence, and monophony, in which all parts (if there are multiple parts) move in parallel rhythm and pitch. A homophonic texture is also homorhythmic[1] (or uses a "very similar rhythm").[2] However, in melody-dominated homophony, one voice, often the highest, plays a distinct melody, and the accompanying voices work together to articulate an underlying harmony.[3] Initially, in Ancient Greece, homophony indicated music in which a single melody is performed by two or more voices in unison or octaves, i.e. monophony with multiple voices.

Homophony as a term first appeared in English with Charles Burney in 1776, emphasizing the concord of harmonized melody. [4]