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espanolConsiderando que se describen muchos tipos de definiciones en la literatura tocante a la terminografia, incluso comunes a la lexicografia, y que, potencialmente, cualquiera de estos modelos podria usarse para la construccion de definiciones de conceptos del area de la musica liturgica, en el presente trabajo de investigacion se pretende ahondar sobre cuales son los tipos mas frecuentes y cuales son sus posibles combinaciones; esto, para ofrecer un modelo util a redactores que colaboren en proyectos academicos en los que se defina lexico, en principio, afines al area de la musica liturgica. Luego de formalizar un marco conceptual adecuado para este articulo y la problematica abordada en el, se plantean los pasos seguidos en un estudio de caso en el que se evaluan y clasifican las definiciones hechas por algunos especialistas. Tomando en cuenta esta base de analisis, se concreta una propuesta que, dentro del area de la musica liturgica, funciona como un modelo definitorio efectivo. Por ultimo, se explica como se puso a prueba el modelo y como se valoro la efectividad de este, y se ilustran las adecuaciones para su posible implementacion. EnglishGiven that many different types of definitions are described in the literature related to terminography, even those common to lexicography, and also that, potentially, any of these models could be used to construct definitions of concepts of the liturgical music area, this work aims at deepening in which the most frequent types are, as well as their possible combinations, in order to offer a useful model to editors who collaborate in academic projects in which lexicon is defined, an which are, in principle, related to the area of liturgical music. After formalizing a suitable conceptual framework for this article and the addressed problematic, the steps that were followed in this work in a case study which evaluates and classifies the definitions done by some specialists are presented. Taking this analysis foundation into account, a proposal is set which, within the area of liturgical music, works as an effective definitory model. Lastly, an explanation is provided on how the model was put to the test and how its effectiveness was evaluated, as well as the adaptations for its possible implementation.