1892:, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life of cities, playing for the general public. This meant he needed to write operas and write and perform virtuoso pieces. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted to achieve both. Moreover, Mozart also had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn's music and later in his study of the polyphony of
1398:
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2097:. He concentrated more on the piano than any other instrument, and his time in London in 1791 and 1792 generated the composition and publication in 1793 of three piano sonatas, opus 2, which idiomatically used Mozart's techniques of avoiding the expected cadence, and Clementi's sometimes modally uncertain virtuoso figuration. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music. They studied one another's works, copied one another's gestures in music, and on occasion behaved like quarrelsome rivals.
2588:
438:). Unlike the harpsichord, which plucks strings with quills, pianos strike the strings with leather-covered hammers when the keys are pressed, which enables the performer to play louder or softer (hence the original name "fortepiano," literally "loud soft") and play with more expression; in contrast, the force with which a performer plays the harpsichord keys does not change the sound. Instrumental music was considered important by Classical period composers. The main kinds of instrumental music were the
2101:
minor and of modal ambiguity, and the increasing importance of varying accompanying figures to bring "texture" forward as an element in music. In short, the late
Classical was seeking music that was internally more complex. The growth of concert societies and amateur orchestras, marking the importance of music as part of middle-class life, contributed to a booming market for pianos, piano music, and virtuosi to serve as exemplars. Hummel, Beethoven, and Clementi were all renowned for their improvising.
2489:
1844:
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2423:
1494:âbut composed with simpler parts, more notated ornamentation, rather than the improvised ornaments that were common in the Baroque era, and more emphatic division of pieces into sections. However, over time, the new aesthetic caused radical changes in how pieces were put together, and the basic formal layouts changed. Composers from this period sought dramatic effects, striking melodies, and clearer textures. One of the big textural changes was a shift away from the complex, dense
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1747:, or "storm and stress" phase in the arts, a short period where obvious and dramatic emotionalism was a stylistic preference. Haydn accordingly wanted more dramatic contrast and more emotionally appealing melodies, with sharpened character and individuality in his pieces. This period faded away in music and literature: however, it influenced what came afterward and would eventually be a component of aesthetic taste in later decades.
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2485:. Their sense of form was strongly influenced by the Classical style. While they were not yet "learned" composers (imitating rules which were codified by others), they directly responded to works by Haydn, Mozart, Clementi, and others, as they encountered them. The instrumental forces at their disposal in orchestras were also quite "Classical" in number and variety, permitting similarity with Classical works.
2074:, who was deeply admired by future romantic composers such as Weber, Berlioz and Wagner. The innovative harmonic language of his operas, their refined instrumentation and their "enchained" closed numbers (a structural pattern which was later adopted by Weber in Euryanthe and from him handed down, through Marschner, to Wagner), formed the basis from which French and German romantic opera had its beginnings.
1856:(1781), in which the melodic and the harmonic roles segue among the instruments: it is often momentarily unclear what is melody and what is harmony. This changes the way the ensemble works its way between dramatic moments of transition and climactic sections: the music flows smoothly and without obvious interruption. He then took this integrated style and began applying it to orchestral and vocal music.
2691:), albeit an octave below the cellos, because the double bass is a transposing instrument that sounds one octave lower than it is written. In the Classical era, some composers continued to write only one bass part for their symphony, labeled "bassi"; this bass part was played by cellists and double bassists. During the Classical era, some composers began to give the double basses their own part.
1900:
2443:
often used for contrast. Beginning with Mozart and
Clementi, there began a creeping colonization of the subdominant region (the ii or IV chord, which in the key of C major would be the keys of d minor or F major). With Schubert, subdominant modulations flourished after being introduced in contexts in which earlier composers would have confined themselves to dominant shifts (modulations to the
1473:, comprising simpler textures and harmonies, and which was "charming, undramatic, and a little empty." As mentioned previously, Carl Philipp Emmanuel sought to increase drama, and his music was "violent, expressive, brilliant, continuously surprising, and often incoherent." And finally Wilhelm Friedemann, J.S. Bach's eldest son, extended Baroque traditions in an idiomatic, unconventional way.
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1436:, the composer renders four emotions separately, one for each character, in the quartet "O, spare your daughter". Eventually this depiction of individual emotions came to be seen as simplistic and unrealistic; composers sought to portray multiple emotions, simultaneously or progressively, within a single character or movement ("dramatic action"). Thus in the finale of act 2 of Mozart's
1035:, or virtuoso solo parts for particularly skilled violinists or flutists. In addition, the appetite by audiences for a continual supply of new music carried over from the Baroque. This meant that works had to be performable with, at best, one or two rehearsals. Even after 1790, Mozart writes about "the rehearsal," with the implication that his concerts would have only one rehearsal.
1510:
1929:, the relative standing of instrumental and vocal music, technical demands on musicians, and stylistic unity had become established in the composers who imitated Mozart and Haydn. During this decade Mozart composed his most famous operas, his six late symphonies that helped to redefine the genre, and a string of piano concerti that still stand at the pinnacle of these forms.
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style inwards: toward seeking greater ensemble and technical challengesâfor example, scattering the melody across woodwinds, or using a melody harmonized in thirds. This process placed a premium on small ensemble music, called chamber music. It also led to a trend for more public performance, giving a further boost to the string quartet and other small ensemble groupings.
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performers to play ornaments such as trills or turns. The simplification of texture made such instrumental detail more important, and alit so made the use of characteristic rhythms, such as attention-getting opening fanfares, the funeral march rhythm, or the minuet genre, more important in establishing and unifying the tone of a single movement.
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societies, and the unstoppable domination of the increasingly more powerful piano (which was given a bolder, louder tone by technological developments such as the use of steel strings, heavy cast-iron frames and sympathetically vibrating strings) all created a huge audience for sophisticated music. All of these trends contributed to the
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without a sense of "arrival" at the new key. While counterpoint was less emphasised in the classical period, it was by no means forgotten, especially later in the period, and composers still used counterpoint in "serious" works such as symphonies and string quartets, as well as religious pieces, such as Masses.
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In the intervening years, the social world of music had seen dramatic changes. International publication and touring had grown explosively, and concert societies formed. Notation became more specific, more descriptiveâand schematics for works had been simplified (yet became more varied in their exact
1924:
It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a high standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence in the 1750s of the early
Classical
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took these developments further. His more than five hundred single-movement keyboard sonatas also contain abrupt changes of texture, but these changes are organized into periods, balanced phrases that became a hallmark of the classical style. However, Scarlatti's changes in texture still sound sudden
1445:
Musically speaking, this "dramatic action" required more musical variety. Whereas
Baroque music was characterized by seamless flow within individual movements and largely uniform textures, composers after the High Baroque sought to interrupt this flow with abrupt changes in texture, dynamic, harmony,
1042:
and phrasing. This contrasts with the
Baroque era, when melodies were typically written with no dynamics, phrasing marks, ornaments, as it was assumed that the performer would improvise these elements on the spot. In the Classical era, it became more common for composers to indicate where they wanted
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direction . In the
Classical style, major key was far more common than minor, chromaticism being moderated through the use of "sharpward" modulation (e.g., a piece in C major modulating to G major, D major, or A major, all of which are keys with more sharps). As well, sections in the minor mode were
2410:
Musical eras and their prevalent styles, forms and instruments seldom disappear at once; instead, features are replaced over time, until the old approach is simply felt as "old-fashioned". The
Classical style did not "die" suddenly; rather, it gradually got phased out under the weight of changes. To
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grew less prominent as a means of holding performance together, the performance practices of the mid-18th century continued to die out. However, at the same time, complete editions of
Baroque masters began to become available, and the influence of Baroque style continued to grow, particularly in the
2520:
Drawing the line between these two styles is very difficult: some sections of Mozart's later works, taken alone, are indistinguishable in harmony and orchestration from music written 80 years laterâand some composers continued to write in normative
Classical styles into the early 20th century. Even
1948:
factory for piano manufacturing and as the base for composers who, while less notable than the "Vienna School", had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London's taste for virtuosity may well have encouraged the complex passage
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movement. Musical culture was caught at a crossroads: the masters of the older style had the technique, but the public hungered for the new. This is one of the reasons C. P. E. Bach was held in such high regard: he understood the older forms quite well and knew how to present them in new garb, with
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Baroque music generally uses many harmonic fantasies and polyphonic sections that focus less on the structure of the musical piece, and there was less emphasis on clear musical phrases. In the classical period, the harmonies became simpler. However, the structure of the piece, the phrases and small
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Whilst, Schubert apart, these composers certainly knew each other (with Haydn and Mozart even being occasional chamber-music partners), there is no sense in which they were engaged in a collaborative effort in the sense that one would associate with 20th-century schools such as the Second
Viennese
2100:
The crucial differences with the previous wave can be seen in the downward shift in melodies, increasing durations of movements, the acceptance of Mozart and Haydn as paradigmatic, the greater use of keyboard resources, the shift from "vocal" writing to "pianistic" writing, the growing pull of the
1030:
Economic changes also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque, a major composer would have the entire musical resources of a town to draw on, the musical forces available at an aristocratic hunting lodge or small court were smaller
1851:
Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most other composers. His position also gave him the ability to shape the forces that would play his music, as he could select skilled musicians. This opportunity was not
1664:
By the late 1750s there were flourishing centers of the new style in Italy, Vienna, Mannheim, and Paris; dozens of symphonies were composed and there were bands of players associated with musical theatres. Opera or other vocal music accompanied by orchestra was the feature of most musical events,
1269:
and its variants were developed during the early classical period and was frequently used. The Classical approach to structure again contrasts with the Baroque, where a composition would normally move between tonic and dominant and back again, but through a continual progress of chord changes and
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which more closely resembles the modern instrument with the standard six strings. Judging by the number of instructional manuals published for the instrument â over three hundred texts were published by over two hundred authors between 1760 and 1860 â the classical period marked a golden age for
1920:
melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. It is at this point that war and economic inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the Classical
1721:
While some scholars suggest that Haydn was later overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole. At the time, before the pre-eminence of Mozart or Beethoven, and with Johann
1762:
minor, exemplifies Haydn's integration of the differing demands of the new style, with surprising sharp turns and a long slow adagio to end the work. In 1772, Haydn completed his Opus 20 set of six string quartets, in which he deployed the polyphonic techniques he had gathered from the previous
2285:
The term "Viennese School" was first used by Austrian musicologist Raphael Georg Kiesewetter in 1834, although he only counted Haydn and Mozart as members of the school. Other writers followed suit, and eventually Beethoven was added to the list. The designation "first" is added today to avoid
1915:
Mozart's arrival in Vienna in 1780 brought an acceleration in the development of the Classical style. There, Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness that had been brewing for the previous 20 years. His own taste for flashy brilliances, rhythmically complex
1687:
supplemented by windsâand movements of particular rhythmic character were established by the late 1750s in Vienna. However, the length and weight of pieces was still set with some Baroque characteristics: individual movements still focused on one "affect" (musical mood) or had only one sharply
2512:
was the model for hundreds of later piecesâwhere the shifting movement of a rhythmic figure provides much of the drama and interest of the work, while a melody drifts above it. Greater knowledge of works, greater instrumental expertise, increasing variety of instruments, the growth of concert
2507:
However, the forces destined to end the hold of the Classical style gathered strength in the works of many of the above composers, particularly Beethoven. The most commonly cited one is harmonic innovation. Also important is the increasing focus on having a continuous and rhythmically uniform
2023:
When Haydn and Mozart began composing, symphonies were played as single movementsâbefore, between, or as interludes within other worksâand many of them lasted only ten or twelve minutes; instrumental groups had varying standards of playing, and the continuo was a central part of music-making.
1673:
1911:
Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource. The learning relationship moved in both
1763:
Baroque era to provide structural coherence capable of holding together his melodic ideas. For some, this marks the beginning of the "mature" Classical style, a transitional period in which reaction against late Baroque complexity yielded to integration of Baroque and Classical elements.
2109:
ever more expansive use of brass. Another feature of the period is the growing number of performances where the composer was not present. This led to increased detail and specificity in notation; for example, there were fewer "optional" parts that stood separately from the main score.
912:. Classical music used formality and emphasis on order and hierarchy and a "clearer", "cleaner" style that used clearer divisions between parts (notably a clear, single melody accompanied by chords), brighter contrasts, and "tone colors" (achieved by the use of dynamic changes and
2638:(in orchestras and chamber music, typically there are first violins and second violins, with the former playing the melody and/or a higher line and the latter playing either a countermelody, a harmony part, a part below the first violin line in pitch, or an accompaniment line)
1675:
1944:, who, like Clementi, encouraged piano makers to extend the range and other features of their instruments, and then fully exploited the newly opened up possibilities. The importance of London in the Classical period is often overlooked, but it served as the home to the
1936:, a gifted virtuoso pianist who tied with Mozart in a musical "duel" before the emperor in which they each improvised on the piano and performed their compositions. Clementi's sonatas for the piano circulated widely, and he became the most successful composer in
1031:
and more fixed in their level of ability. This was a spur to having simpler parts for ensemble musicians to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the
2122:, it may not have been the first in all of its innovations, but its aggressive use of every part of the Classical style set it apart from its contemporary works: in length, ambition, and harmonic resources as well making it the first symphony of the
1511:
1548:. Their emphasis on accessibility brought huge successes in opera, and in other vocal music such as songs, oratorios, and choruses. These were considered the most important kinds of music for performance and hence enjoyed greatest public success.
966:
The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed well, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny
916:
to more keys). In contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the typical size of orchestras began to increase, giving orchestras a more powerful sound.
1465:
and unprepared. The outstanding achievement of the great classical composers (Haydn, Mozart and Beethoven) was their ability to make these dramatic surprises sound logically motivated, so that "the expressive and the elegant could join hands."
2089:, who launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was
1717:
and later Kapellmeister, his output expanded: he composed over forty symphonies in the 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many.
1468:
Between the death of J. S. Bach and the maturity of Haydn and Mozart (roughly 1750â1770), composers experimented with these new ideas, which can be seen in the music of Bach's sons. Johann Christian developed a style which we now call
2313:
are merely journalistic, and never encountered in academic musicology. According to scholar James F. Daugherty, the Classical period itself from approximately 1775 to 1825 is sometimes referred to as "the Viennese Classic period".
1535:
and transition. By making these moments where the harmony changes more of a focus, he enabled powerful dramatic shifts in the emotional color of the music. To highlight these transitions, he used changes in instrumentation
2447:, e.g., in the key of C major, modulating to G major). This introduced darker colors to music, strengthened the minor mode, and made structure harder to maintain. Beethoven contributed to this by his increasing use of the
1688:
contrasting middle section, and their length was not significantly greater than Baroque movements. There was not yet a clearly enunciated theory of how to compose in the new style. It was a moment ripe for a breakthrough.
2298:. Nor is there any significant sense in which one composer was "schooled" by another (in the way that Berg and Webern were taught by Schoenberg), though it is true that Beethoven for a time received lessons from Haydn.
2047:
In the 1790s, a new generation of composers, born around 1770, emerged. While they had grown up with the earlier styles, they heard in the recent works of Haydn and Mozart a vehicle for greater expression. In 1788
1015:. In Baroque compositions, additional instruments could be added to the continuo group according to the group or leader's preference; in Classical compositions, all parts were specifically noted, though not always
1669:) serving as instrumental interludes and introductions for operas and church services. Over the course of the Classical period, symphonies and concertos developed and were presented independently of vocal music.
1674:
1074:, featuring only one soloist. Composers began to place more importance on the particular soloist's ability to show off virtuoso skills, with challenging, fast scale and arpeggio runs. Nonetheless, some
767:
1426:
claims that from 1755 to 1775, composers groped for a new style that was more effectively dramatic. In the High Baroque period, dramatic expression was limited to the representation of individual
1888:
Haydn's gift to music was a way of composing, a way of structuring works, which was at the same time in accord with the governing aesthetic of the new style. However, a younger contemporary,
609:. Beethoven is regarded either as a Romantic composer or a Classical period composer who was part of the transition to the Romantic era. Schubert is also a transitional figure, as were
419:
which emphasizes light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before, and the
1551:
The phase between the Baroque and the rise of the Classical (around 1730), was home to various competing musical styles. The diversity of artistic paths are represented in the sons of
1852:
wasted, as Haydn, beginning quite early on his career, sought to press forward the technique of building and developing ideas in his music. His next important breakthrough was in the
1236:, while maintaining a consistent rhythm or metre throughout. As a result, Classical music tends to have a lighter, clearer texture than the Baroque. The classical style draws on the
1050:, a set of structural principles for music that reconciled the Classical preference for melodic material with harmonic development, which could be applied across musical genres. The
4221:
3290:
2270:) is used. That term is often more broadly applied to the Classical era in music as a whole, as a means to distinguish it from other periods that are colloquially referred to as
2058:, an opera that raised him to fame. Its style is clearly reflective of the mature Haydn and Mozart, and its instrumentation gave it a weight that had not yet been felt in the
1079:
3979:
171:
2564:, while deeply influenced by Beethoven, also searched for new ideas and new forms to contain the larger world of musical expression and performance in which they lived.
1722:
Sebastian Bach known primarily to connoisseurs of keyboard music, Haydn reached a place in music that set him above all other composers except perhaps the Baroque era's
971:. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the
2028:
working out). In 1790, just before Mozart's death, with his reputation spreading rapidly, Haydn was poised for a series of successes, notably his late oratorios and
1679:
Mozart wrote a number of divertimentos, light instrumental pieces designed for entertainment. This is the 2nd movement of his Divertimento in E-flat major, K. 113.
462:, which featured a virtuoso solo performer playing a solo work for violin, piano, flute, or another instrument, accompanied by an orchestra. Vocal music, such as
1460:. Composers of this style employed the above-discussed interruptions in the most abrupt manner, and the music can sound illogical at times. The Italian composer
1232:, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of
357:
2606:
The Baroque guitar, with four or five sets of double strings or "courses" and elaborately decorated soundhole, was a very different instrument from the early
2415:
in orchestras, this did not happen all of a sudden at the start of the Classical era in 1750. Rather, orchestras slowly stopped using the harpsichord to play
1289:, enabling more dynamic contrast and more sustained melodies. Over the Classical period, keyboard instruments became richer, more sonorous and more powerful.
4707:
3395:
2644:(the alto voice of the orchestral string section and string quartet; it often performs "inner voices", which are accompaniment lines which fill in the
2552:, marked the Classical style's final eclipseâand the end of its continuous organic development of one composer learning in close proximity to others.
2567:
Renewed interest in the formal balance and restraint of 18th century classical music led in the early 20th century to the development of so-called
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However, Vienna's fall as the most important musical center for orchestral composition during the late 1820s, precipitated by the deaths of
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1216:. These phrases are relatively brief, typically four bars in length, and can occasionally seem sparse or terse. The texture is mainly
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and be both well-articulated and orderly. This taste for structural clarity began to affect music, which moved away from the layered
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1144:
762:
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It was commonplace for all orchestras to have at least 2 winds, usually oboes, flutes, clarinets, or sometimes English horns (see
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became a much more prevalent feature of music, even if they interrupted the melodic smoothness of a single part. As a result, the
4464:
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era, exhibit a deliberately anachronistic artistic paradigm, harking back to the compositional style of several decades before.
1019:, so the term "obbligato" became redundant. By 1800, basso continuo was practically extinct, except for the occasional use of a
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In the Baroque era, there was more variety in the bowed stringed instruments used in ensembles, with instruments such as the
343:
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In the Baroque era, the double bass players were not usually given a separate part; instead, they typically played the same
1397:
4154:
2959:
1242:, a musical style which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur.
883:
550:
2035:
1737:
One of the forces that worked as an impetus for his pressing forward was the first stirring of what would later be called
1093:
from the Classical era are the core of the chamber music literature. From left to right: violin 1, violin 2, cello, viola
17:
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developed and became the most important form. It was used to build up the first movement of most large-scale works in
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2668:(the bass typically performs the lowest pitches in the string section in order to provide the bassline for the piece)
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directions. Mozart also had a great respect for the older, more experienced composer, and sought to learn from him.
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keyboard instrument, was used until the 1750s, after which time it was gradually phased out, and replaced with the
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Since there was a greater emphasis on a single melodic line, there was greater emphasis on notating that line for
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or tempo. Among the stylistic developments which followed the High Baroque, the most dramatic came to be called
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The classical musical style was supported by technical developments in instruments. The widespread adoption of
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itself continued to be the principal form for solo and chamber music, while later in the Classical period, the
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1726:. Haydn took existing ideas, and radically altered how they functionedâearning him the titles "father of the
1330:
was popular, great importance was given to instrumental music. The main kinds of instrumental music were the
1070:(a concerto for more than one musician), a very popular form in the Baroque era, began to be replaced by the
3716:
1430:(the "doctrine of affections", or what Rosen terms "dramatic sentiment"). For example, in Handel's oratorio
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style of the Baroque, in which multiple interweaving melodic lines were played simultaneously, and towards
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One composer who was influential in spreading the more serious style that Mozart and Haydn had formed is
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1531:, who cut away a great deal of the layering and improvisational ornaments and focused on the points of
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made classical musical structure possible, by ensuring that cadences in all keys sounded similar. The
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5198:
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4519:
4132:
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2032:. Composers in Paris, Rome, and all over Germany turned to Haydn and Mozart for their ideas on form.
1870:
1564:
1528:
1457:
1401:
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periods. Classical music has a lighter, clearer texture than Baroque music but a more varying use of
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393:, which is, in simpler terms, the rhythm and organization of any given piece of music. It is mainly
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2977:"A Comprehensive Study on Classical Music and Comparison with Other Music Styles, Types and Genres"
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visited Vienna when they were young, but they then moved on to other cities. Composers such as
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One crucial change was the shift towards harmonies centering on "flatward" keys: shifts in the
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is a name mostly used to refer to three composers of the Classical period in late-18th-century
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give just one example, while it is generally stated that the Classical era stopped using the
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are among the most prominent in this generation of "Proto-Romantics", along with the young
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1695:. In the late 1750s he began composing symphonies, and by 1761 he had composed a triptych (
1544:. Among the most successful composers of his time, Gluck spawned many emulators, including
977:âthe rhythmic and harmonic groundwork of a piece of music, typically played by a keyboard (
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The force of these shifts became apparent with Beethoven's 3rd Symphony, given the name
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being used, ranging from small viols to large bass viols. In the Classical period, the
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vocal music and, later in the period, secular instrumental music. It also makes use of
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2070:, from which followed a series of successes. The final push towards change came from
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role in orchestra fell out of use between 1750 and 1775, leaving the string section.
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1519:'s Sonata in G minor, No. 3, Op. 50, "Didone abbandonata", adagio movement
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melodic or rhythmic motives, became much more important than in the Baroque period.
1442:, the lovers move "from joy through suspicion and outrage to final reconciliation."
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are used to highlight the structural characteristics of the piece. In particular,
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1502:, a lighter texture which uses a clear single melody line accompanied by chords.
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would sometimes join the larger string orchestra to serve as the wind section.
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form for orchestra was created in this period (this is popularly attributed to
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Attempts to extend the First Viennese School to include such later figures as
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In the middle of the 18th century, Europe began to move toward a new style in
647:), since Gluck, Haydn, Salieri, Mozart, Beethoven, and Schubert all worked in
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The orchestra increased in size and range, and became more standardised. The
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924:" had already established itself in the public consciousness. In particular,
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2537:, written during the chronological end of the Classical era and dawn of the
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were self-described Romantics, incorporating, for example, more extravagant
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985:) and usually accompanied by a varied group of bass instruments, including
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212:
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2703:. Patrons also usually employed an ensemble of entirely winds, called the
2662:; and at other times it performs melodies and solos in the lower register)
102:, a representative composer of the Classical period, seated at a keyboard.
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2743:
2665:
2659:
2561:
2553:
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2439:
2412:
2059:
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1738:
1567:, who composed passionate and sometimes violently eccentric music of the
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3469:
2855:
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2836:
2822:
2164: in this section. Unsourced material may be challenged and removed.
2116:, which is Italian for "heroic", by the composer. As with Stravinsky's
2093:. Hummel studied under Haydn as well; he was a friend to Beethoven and
1297:
1282:
1278:
1132: in this section. Unsourced material may be challenged and removed.
1085:
1020:
729:
689: in this section. Unsourced material may be challenged and removed.
435:
410:
278:
1847:
Wolfgang Amadeus Mozart, posthumous painting by Barbara Krafft in 1819
6321:
4649:
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2954:. London: Associated Board of the Royal Schools of Music. p. 3.
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among its proponents, at least at certain times in their careers.
1523:
Another important break with the past was the radical overhaul of
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1937:
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1863:
The opening bars of the Commendatore's aria in Mozart's opera
931:
was taken as a paradigm: structures should be well-founded in
5066:
4702:
4624:
4554:
4423:
3291:
Stephen Fry's Incomplete and Utter History of Classical Music
2859:
2723:
2651:
2641:
2529:
in their works (e.g., using chromatic harmonies in a piece's
2419:
until the practice was discontinued by the end of the 1700s.
1899:
1524:
1316:
986:
932:
471:
467:
431:
3357:
2631:
of the orchestra was standardized as just four instruments:
1386:
4853:
4644:
2981:
IV International Vocational and Technical Sciences Congress
2785:'s divertimento, "Die Bauernhochzeit" or "Peasant Wedding")
2728:
2688:
2624:
2591:
Fortepiano by Paul McNulty after Walter & Sohn, c. 1805
2104:
The direct influence of the Baroque continued to fade: the
1476:
At first the new style took over Baroque formsâthe ternary
1312:
2862:. By the early 1800s, the harpsichord was no longer used.
2679:
that the cellos and other low-pitched instruments (e.g.,
2317:
1896:, the means to discipline and enrich his artistic gifts.
1559:, who continued the Baroque tradition in a personal way;
1080:
Sinfonia Concertante for Violin and Viola in E-flat major
1046:
The Classical period also saw the gradual development of
4392:
3210:
Classical Music: The Era of Haydn, Mozart, and Beethoven
2952:
A Performer's Guide to the Music of the Classical Period
1907:
c. 1780. The portrait on the wall is of Mozart's mother.
1001:. One way to trace the decline of the continuo and its
3193:
An Annotated Bibliography of Guitar Methods, 1760â1860
2455:, and modal ambiguityâfor example, the opening of the
6454:
3090:
pp. 43â44. New York: W. W. Norton & Company, 1998
1691:
The first great master of the style was the composer
1011:, meaning a mandatory instrumental part in a work of
1949:
work and extended statements on tonic and dominant.
1245:
Structurally, Classical music generally has a clear
637:. The period is sometimes referred to as the era of
430:
was replaced as the main keyboard instrument by the
4708:
Evolution of timpani in the 18th and 19th centuries
1880:(A7 with a C# in the bass) before resolving to the
1005:chords is to examine the disappearance of the term
3109:pp. 44. New York: W. W. Norton & Company, 1998
3001:Classic and Romantic Music: A Comprehensive Survey
2709:, which would be employed for certain events. The
2066:extended instrumental effects with his 1790 opera
1940:during the 1780s. Also in London at this time was
1220:, with a clear melody above a subordinate chordal
3195:(Hillsdale, New York: Pendragon Press, 2010), xi.
1876:chord (G# dim7 with a B in the bass) moving to a
6478:
1665:with concertos and symphonies (arising from the
1078:remained, the most famous of which was Mozart's
3137:The New Grove Dictionary of Music and Musicians
2582:
1307:became a self-contained section, consisting of
900:, literature, and the arts, generally known as
1713:) solidly in the contemporary mode. As a vice-
939:of the Baroque period toward a style known as
477:The best-known composers from this period are
4408:
3910:
3389:
904:. This style sought to emulate the ideals of
877:
351:
2521:before Beethoven's death, composers such as
3924:
3118:
2366:. Unsourced material may be challenged and
2328:Transition from Classical to Romantic music
2085:The most fateful of the new generation was
1991:. Unsourced material may be challenged and
1925:style. By the end of the 1780s, changes in
1805:. Unsourced material may be challenged and
1614:. Unsourced material may be challenged and
4415:
4401:
3917:
3903:
3396:
3382:
3364:Free scores by various classical composers
3043:. 6th. New York: McGraw Hill, 2008. Print.
1683:The "normal" orchestra ensembleâa body of
884:
870:
458:(performed by an orchestra), and the solo
358:
344:
5052:Music technology (electronic and digital)
3368:International Music Score Library Project
2386:Learn how and when to remove this message
2224:Learn how and when to remove this message
2011:Learn how and when to remove this message
1825:Learn how and when to remove this message
1634:Learn how and when to remove this message
1387:Baroque/Classical transition c. 1750â1760
1192:Learn how and when to remove this message
705:Learn how and when to remove this message
409:was by no means forgotten, especially in
80:Learn how and when to remove this message
3057:. Englewood Cliffs, N.J: Prentice-Hall.
3032:
3030:
3028:
3015:"Overview of the Classical Era of Music"
2586:
2487:
2421:
2406:, after his own 1825 watercolor portrait
2397:
2235:
2129:
2076:
2034:
1898:
1858:
1842:
1671:
1651:
1508:
1456:"), and its best-known practitioner was
1396:
1084:
920:The remarkable development of ideas in "
768:Classical education in the Eastern world
763:Classical education in the Western world
93:
43:This article includes a list of general
3076:
3074:
2992:
2990:
2974:
2658:of the piece, typically doubled by the
2402:1875 oil painting of Franz Schubert by
2262:In German-speaking countries, the term
1249:, with a well-defined contrast between
1097:
1089:A modern string quartet. In the 2000s,
381:The classical period falls between the
14:
6479:
3360: â Classical music reference site
3252:; Grout, Donald Jay (1998 rev. 2006).
3012:
2949:
2318:Classical influence on later composers
2052:settled in Paris and in 1791 composed
1228:. This contrasts with the practice in
493:; other names in this period include:
5231:
4590:Vietnam imperial court musicâNhĂŁ nháșĄc
4396:
3898:
3377:
3327:(2005, rev. Paperback version 2009).
3165:
3052:
3025:
1212:with contrasting melodic figures and
959:structure of a piece of music became
423:increased in size, range, and power.
27:Era of classical music (c. 1730â1820)
3403:
3214:Norton Introduction to Music History
3071:
2987:
2844:(the forerunner to the modern piano)
2364:adding citations to reliable sources
2331:
2162:adding citations to reliable sources
2133:
1989:adding citations to reliable sources
1956:
1803:adding citations to reliable sources
1770:
1612:adding citations to reliable sources
1579:
1130:adding citations to reliable sources
1101:
687:adding citations to reliable sources
658:
29:
4377:
2259:is occasionally added to the list.
1952:
1884:(D minor) at the singer's entrance.
24:
6266:Classical and art music traditions
4698:History of lute-family instruments
4515:Cambodian ceremonial musicâPinpeat
3202:
3168:"The Classical Period (1775-1825)"
49:it lacks sufficient corresponding
25:
6498:
3351:
6464:
6438:
6437:
6424:
6410:
5982:Saint Vincent and the Grenadines
5457:Democratic Republic of the Congo
5057:Sound recording and reproduction
4510:Burmese classical musicâMahÄgÄ«ta
4376:
4366:
4357:
4356:
4346:
3878:
3869:
3868:
3331:. Oxford University Press (US).
3321:(expanded edition with CD, 1997)
3254:Concise History of Western Music
2336:
2255:: Haydn, Mozart, and Beethoven.
2138:
1961:
1775:
1584:
1106:
736:
663:
466:(notably the work of Schubert),
401:line over a subordinate chordal
34:
6286:Jazz and popular music glossary
4347:
3414:List of Classical-era composers
3329:Oxford History of Western Music
3238:, Fifth Edition. W. W. Norton.
3185:
3159:
2931:List of Classical-era composers
2910:(commonplace in military bands)
2149:needs additional citations for
1117:needs additional citations for
674:needs additional citations for
551:François-André Danican Philidor
378:between roughly 1750 and 1820.
5527:Federated States of Micronesia
3272:The Oxford Dictionary of Music
3112:
3093:
3046:
3006:
3003:. New York: W. W. Norton, 1970
2968:
2943:
1869:. The orchestra starts with a
1058:became a prominent genre. The
13:
1:
4570:Philippine art songsâKundiman
4490:Afghan classical musicâKlasik
2789:
2533:). Conversely, works such as
2515:shift to the "Romantic" style
2173:"Classical period" music
1572:an enhanced variety of form.
1439:Die EntfĂŒhrung aus dem Serail
1204:In the classical period, the
1141:"Classical period" music
1023:continuo part in a religious
947:is played over a subordinate
654:
311:
295:
253:
227:
201:
160:
134:
6431:Record production portal
6276:Cultural and regional genres
4535:Indonesian art musicâGamelan
2830:
2694:
2583:Classical period instruments
2510:Beethoven's Moonlight Sonata
1766:
1575:
595:Johann Georg Albrechtsberger
523:Carl Ditters von Dittersdorf
464:songs for a singer and piano
7:
5047:Music technology (electric)
4585:Thai classical musicâPiphat
4540:Japanese court musicâGagaku
2924:
2850:, the standard Baroque era
2240:View of Vienna in 1758, by
1916:melodies and figures, long
10:
6503:
4693:History of the harpsichord
4580:Kandyan dance of Sri Lanka
3313:. New York: W. W. Norton.
3236:A History of Western Music
3053:White, John David (1976).
2871:
2614:
2597:List of period instruments
2594:
2321:
2268:Viennese classical era/art
1836:
1645:
1404:, detail of a portrait by
1390:
1381:
1326:While vocal music such as
836:Between World War I and II
828:20th-century neoclassicism
607:Chevalier de Saint-Georges
6404:
6309:
6238:
5238:
5224:
5075:
4985:
4867:
4808:
4730:
4673:
4603:
4520:Chinese traditional music
4480:
4430:
4422:
4320:
4247:
4209:
4163:
4083:
4046:
3990:
3960:
3953:
3932:
3848:
3803:
3782:
3746:
3725:
3420:
3411:
3208:Downs, Philip G. (1992).
2983:– via ResearchGate.
2601:
2535:Schubert's Symphony No. 5
2508:accompanying figuration:
2457:Symphony No. 9 in D minor
1565:Carl Philipp Emanuel Bach
1529:Christoph Willibald Gluck
1458:Carl Philipp Emanuel Bach
567:Georg Christoph Wagenseil
531:Pierre-Alexandre Monsigny
519:Christoph Willibald Gluck
495:Carl Philipp Emanuel Bach
146:Transition to Renaissance
6487:Classical period (music)
5402:Central African Republic
4945:Computational musicology
4495:Andalusi classical music
4222:Unruly audience response
3250:Hanning, Barbara Russano
3140:(2nd ed.). London:
3126:(2001). "Classical". In
2950:Burton, Anthony (2002).
2936:
2902:Trumpet Concerto (Haydn)
2720:(used in military bands)
1410:Kunsthistorisches Museum
6291:Music genres and styles
4595:Western classical music
4565:Persian classical music
3926:Western classical music
2975:AFSHARI, Faraz (2018).
2918:Serenade No. 9 (Mozart)
2701:Symphony No. 22 (Haydn)
2623:and a range of fretted
1890:Wolfgang Amadeus Mozart
1854:Opus 33 string quartets
1557:Wilhelm Friedemann Bach
951:. This move meant that
483:Wolfgang Amadeus Mozart
265:Transition to Modernism
213:Transition to Classical
112:Western classical music
100:Wolfgang Amadeus Mozart
64:more precise citations.
6271:Classical music genres
5347:Bosnia and Herzegovina
4888:Doctor of Musical Arts
4713:History of the trumpet
4525:Indian classical music
4024:Transition to Romantic
3954:Major periods and eras
3811:Common practice period
3307:(1972 expanded 1997).
3041:Music: An Appreciation
2592:
2571:style, which numbered
2504:
2435:
2407:
2288:Second Viennese School
2244:
2082:
2044:
1908:
1885:
1878:dominant seventh chord
1848:
1724:George Frideric Handel
1680:
1661:
1520:
1413:
1393:History of sonata form
1257:, introduced by clear
1094:
908:, especially those of
644:
239:Transition to Romantic
186:Common practice period
103:
6097:SĂŁo TomĂ© and PrĂncipe
5972:Saint Kitts and Nevis
5952:Republic of the Congo
4718:History of the violin
3980:Transition to Baroque
3774:Turkish music (style)
3428:First Viennese School
3055:The analysis of music
3013:Kuznetsova, Natalia.
2590:
2491:
2475:Johann Nepomuk Hummel
2425:
2404:Wilhelm August Rieder
2401:
2249:First Viennese School
2239:
2130:First Viennese School
2091:Johann Nepomuk Hummel
2080:
2068:Euphrosine et Coradin
2038:
1902:
1862:
1846:
1730:" and "father of the
1678:
1655:
1561:Johann Christian Bach
1553:Johann Sebastian Bach
1515:
1422:, author and pianist
1400:
1088:
611:Johann Nepomuk Hummel
579:Johann Gottlieb Graun
563:Etienne Nicolas Mehul
547:Johann Baptist Wanhal
499:Johann Christian Bach
172:Transition to Baroque
97:
6167:United Arab Emirates
5232:
4940:Cognitive musicology
4312:Worldwide traditions
4265:Classical music blog
3821:Age of Enlightenment
3191:Stenstadvold, Erik.
3172:University of Kansas
3166:Daugherty, James F.
3142:Macmillan Publishers
2773:The Creation (Haydn)
2471:Carl Maria von Weber
2463:Ludwig van Beethoven
2360:improve this section
2158:improve this article
2087:Ludwig van Beethoven
1985:improve this section
1927:performance practice
1799:improve this section
1608:improve this section
1126:improve this article
1098:Main characteristics
1027:in the early 1800s.
789:Age of Enlightenment
759:Classical education
683:improve this article
627:Carl Maria von Weber
487:Ludwig van Beethoven
6317:Aesthetics of music
6132:Trinidad and Tobago
5267:Antigua and Barbuda
4751:Band (rock and pop)
4675:Musical instruments
4550:Lao classical music
4164:Students by teacher
3733:Classical orchestra
3310:The Classical Style
3105:The Classical Style
3086:The Classical Style
2432:James Warren Childe
2286:confusion with the
2062:. His contemporary
1942:Jan Ladislav Dussek
1839:Musical development
1419:The Classical Style
906:Classical antiquity
746:Classical antiquity
640:Viennese Classicism
631:Jan Ladislav Dussek
603:Christian Cannabich
583:Carl Heinrich Graun
575:Georg Matthias Monn
511:Joseph Martin Kraus
326: •
321: •
18:Classical music era
6379:Musical instrument
6347:Music and politics
5477:Dominican Republic
5225:By sovereign state
4545:Korean court music
4505:Azerbaijani Mugham
3232:Palisca, Claude V.
2759:Clarinette d'amour
2593:
2505:
2436:
2408:
2245:
2119:The Rite of Spring
2083:
2045:
1909:
1886:
1874:diminished seventh
1849:
1681:
1662:
1656:Haydn portrait by
1521:
1462:Domenico Scarlatti
1414:
1224:, for instance an
1095:
1033:Mannheim orchestra
922:natural philosophy
543:Giovanni Paisiello
104:
6452:
6451:
6337:Music and fashion
6332:Music and emotion
6234:
6233:
5502:Equatorial Guinea
4998:A-side and B-side
4903:Music archaeology
4878:Bachelor of Music
4726:
4725:
4660:Psychedelic music
4655:Progressive music
4575:Scottish CeĂČl MĂłr
4390:
4389:
4285:Progressive music
4079:
4078:
3892:
3891:
3345:978-0-19-538630-1
3337:978-0-19-516979-9
3325:Taruskin, Richard
3319:978-0-393-04020-3
3300:978-0-7522-2534-0
3228:Grout, Donald Jay
3151:978-1-56159-239-5
3124:Brown, Bruce Alan
3064:978-0-13-033233-2
2687:wind instrument,
2531:chord progression
2483:Felix Mendelssohn
2396:
2395:
2388:
2242:Bernardo Bellotto
2234:
2233:
2226:
2208:
2030:London symphonies
2021:
2020:
2013:
1835:
1834:
1827:
1753:Farewell Symphony
1676:
1644:
1643:
1636:
1513:
1275:equal temperament
1202:
1201:
1194:
1176:
894:
893:
803:Weimar Classicism
755:Greco-Roman world
715:
714:
707:
623:Gioachino Rossini
591:Georg Anton Benda
571:Johann Simon Mayr
507:Domenico Cimarosa
368:
367:
335:
334:
273:
272:
180:
179:
90:
89:
82:
16:(Redirected from
6494:
6469:
6468:
6467:
6460:
6441:
6440:
6429:
6428:
6427:
6417:Music portal
6415:
6414:
6413:
6369:Music technology
6357:Environmentalism
6310:Related articles
5917:Papua New Guinea
5782:Marshall Islands
5229:
5228:
5175:Central American
4913:Music psychology
4798:Backing vocalist
4635:Electronic music
4478:
4477:
4432:History of music
4417:
4410:
4403:
4394:
4393:
4380:
4379:
4370:
4360:
4359:
4350:
4349:
4335:Composers by era
4300:Video game music
4234:Musical ensemble
4036:Post-romanticism
3958:
3957:
3919:
3912:
3905:
3896:
3895:
3882:
3872:
3871:
3405:Classical period
3398:
3391:
3384:
3375:
3374:
3268:Kennedy, Michael
3256:. W. W. Norton.
3216:. W. W. Norton.
3196:
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3180:
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3068:
3050:
3044:
3034:
3023:
3022:
3019:SUNY ORE SERVICE
3010:
3004:
2997:Blume, Friedrich
2994:
2985:
2984:
2972:
2966:
2965:
2961:978-1-86096-1939
2947:
2748:Requiem (Mozart)
2608:classical guitar
2493:Bernhard Crusell
2391:
2384:
2380:
2377:
2371:
2340:
2332:
2229:
2222:
2218:
2215:
2209:
2207:
2166:
2142:
2134:
2072:Gaspare Spontini
2016:
2009:
2005:
2002:
1996:
1965:
1957:
1953:Around 1790â1820
1830:
1823:
1819:
1816:
1810:
1779:
1771:
1761:
1760:
1677:
1639:
1632:
1628:
1625:
1619:
1588:
1580:
1514:
1406:Joseph Duplessis
1197:
1190:
1186:
1183:
1177:
1175:
1134:
1110:
1102:
910:Classical Greece
886:
879:
872:
740:
717:
716:
710:
703:
699:
696:
690:
667:
659:
635:NiccolĂČ Paganini
619:Gaspare Spontini
555:NiccolĂČ Piccinni
503:Luigi Boccherini
397:, using a clear
372:Classical Period
360:
353:
346:
316:
313:
300:
297:
286:
285:
267:
258:
257: 1800â1910
255:
241:
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231: 1730â1820
229:
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205: 1600â1750
203:
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174:
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164: 1400â1600
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60:this article by
51:inline citations
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6477:
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6475:
6471:Classical music
6465:
6463:
6455:
6453:
6448:
6425:
6423:
6411:
6409:
6400:
6327:Fictional music
6305:
6230:
6037:Solomon Islands
5882:North Macedonia
5234:
5220:
5082:
5080:regional genres
5079:
5071:
5037:Record producer
4981:
4970:Sociomusicology
4955:Ethnomusicology
4883:Master of Music
4863:
4822:
4804:
4761:All-female band
4744:
4722:
4669:
4606:
4599:
4555:Mandé art music
4530:Byzantine music
4476:
4426:
4421:
4391:
4386:
4316:
4243:
4205:
4159:
4075:
4042:
3992:Common practice
3986:
3949:
3928:
3923:
3893:
3888:
3865:
3857:
3844:
3799:
3795:Galant Schemata
3778:
3769:Sensitive style
3742:
3726:Instrumentation
3721:
3455:Mannheim school
3416:
3407:
3402:
3354:
3284:Lihoreau, Tim;
3205:
3203:Further reading
3200:
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3011:
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2973:
2969:
2962:
2948:
2944:
2939:
2927:
2883:Natural trumpet
2874:
2833:
2792:
2754:Basset Clarinet
2697:
2617:
2604:
2599:
2585:
2558:Frédéric Chopin
2497:Swedish-Finnish
2392:
2381:
2375:
2372:
2357:
2341:
2330:
2320:
2307:Johannes Brahms
2230:
2219:
2213:
2210:
2167:
2165:
2155:
2143:
2132:
2050:Luigi Cherubini
2017:
2006:
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1744:Sturm und Drang
1672:
1650:
1640:
1629:
1623:
1620:
1605:
1589:
1578:
1546:Antonio Salieri
1540:), melody, and
1509:
1454:sensitive style
1395:
1389:
1384:
1372:string quartets
1198:
1187:
1181:
1178:
1135:
1133:
1123:
1111:
1100:
1091:string quartets
1076:concerti grossi
1068:concerto grosso
943:, in which the
890:
711:
700:
694:
691:
680:
668:
657:
615:Luigi Cherubini
559:Antonio Salieri
376:classical music
364:
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138: 500â1400
137:
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56:Please help to
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6420:
6405:
6402:
6401:
6399:
6398:
6396:Women in music
6393:
6392:
6391:
6386:
6384:Classification
6376:
6371:
6366:
6364:Music festival
6361:
6360:
6359:
6354:
6344:
6342:Music industry
6339:
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6224:
6219:
6214:
6212:Western Sahara
6209:
6204:
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6189:
6184:
6179:
6174:
6172:United Kingdom
6169:
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6159:
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6144:
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5809:
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5509:
5504:
5499:
5494:
5489:
5484:
5479:
5474:
5469:
5464:
5459:
5454:
5452:Czech Republic
5449:
5444:
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5434:
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5424:
5419:
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5409:
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5369:
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5206:
5196:
5195:
5194:
5187:North American
5184:
5183:
5182:
5180:South American
5177:
5170:Latin American
5167:
5166:
5165:
5160:
5150:
5149:
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5143:
5138:
5136:Middle Eastern
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5128:
5118:
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5111:
5106:
5101:
5096:
5085:
5083:
5076:
5073:
5072:
5070:
5069:
5064:
5059:
5054:
5049:
5044:
5039:
5034:
5029:
5027:Audio engineer
5024:
5023:
5022:
5017:
5012:
5002:
5001:
5000:
4989:
4987:
4983:
4982:
4980:
4979:
4978:
4977:
4972:
4967:
4962:
4960:New musicology
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4768:
4766:Rhythm section
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4143:United Kingdom
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4115:
4110:
4105:
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4044:
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4041:
4040:
4039:
4038:
4028:
4027:
4026:
4016:
4015:
4014:
4011:Empfindsamkeit
4007:
3996:
3994:
3988:
3987:
3985:
3984:
3983:
3982:
3972:
3966:
3964:
3955:
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3934:
3930:
3929:
3922:
3921:
3914:
3907:
3899:
3890:
3889:
3887:
3886:
3876:
3861:Romantic music
3858:
3850:
3849:
3846:
3845:
3843:
3842:
3841:
3840:
3839:
3838:
3833:
3828:
3813:
3807:
3805:
3801:
3800:
3798:
3797:
3792:
3790:Notes inégales
3786:
3784:
3780:
3779:
3777:
3776:
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3741:
3740:
3738:String quartet
3735:
3729:
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3714:
3709:
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3699:
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3607:MartĂn y Soler
3604:
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3579:
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3352:External links
3350:
3349:
3348:
3322:
3305:Rosen, Charles
3302:
3282:
3265:
3247:
3225:
3204:
3201:
3198:
3197:
3184:
3158:
3150:
3128:Sadie, Stanley
3120:Heartz, Daniel
3111:
3100:Rosen, Charles
3092:
3081:Rosen, Charles
3070:
3063:
3045:
3024:
3005:
2986:
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2852:basso continuo
2845:
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2815:
2810:
2798:
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2783:Leopold Mozart
2776:
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2696:
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2674:basso continuo
2670:
2669:
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2649:
2639:
2629:string section
2616:
2613:
2603:
2600:
2584:
2581:
2467:Franz Schubert
2445:dominant chord
2417:basso continuo
2394:
2393:
2344:
2342:
2335:
2319:
2316:
2303:Anton Bruckner
2280:Romantic music
2264:Wiener Klassik
2257:Franz Schubert
2232:
2231:
2146:
2144:
2137:
2131:
2128:
2095:Franz Schubert
2081:Hummel in 1814
2019:
2018:
1969:
1967:
1960:
1954:
1951:
1934:Muzio Clementi
1833:
1832:
1783:
1781:
1774:
1768:
1765:
1732:string quartet
1642:
1641:
1592:
1590:
1583:
1577:
1574:
1569:Empfindsamkeit
1517:Muzio Clementi
1449:Empfindsamkeit
1408:, dated 1775 (
1388:
1385:
1383:
1380:
1340:string quartet
1301:basso continuo
1200:
1199:
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1105:
1099:
1096:
1056:string quartet
892:
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645:Wiener Klassik
599:Mauro Giuliani
535:Leopold Mozart
515:Muzio Clementi
491:Franz Schubert
448:string quartet
374:was an era of
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6374:Music therapy
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6177:United States
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5737:Liechtenstein
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5598:
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5592:Guinea-Bissau
5590:
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5097:
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5090:
5087:
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5084:
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5078:Cultural and
5074:
5068:
5065:
5063:
5060:
5058:
5055:
5053:
5050:
5048:
5045:
5043:
5040:
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5030:
5028:
5025:
5021:
5018:
5016:
5013:
5011:
5008:
5007:
5006:
5005:Extended play
5003:
4999:
4996:
4995:
4994:
4991:
4990:
4988:
4984:
4976:
4975:Zoomusicology
4973:
4971:
4968:
4966:
4963:
4961:
4958:
4956:
4953:
4951:
4950:Ecomusicology
4948:
4946:
4943:
4941:
4938:
4936:
4935:Biomusicology
4933:
4932:
4931:
4928:
4924:
4921:
4920:
4919:
4916:
4914:
4911:
4909:
4908:Music history
4906:
4904:
4901:
4899:
4896:
4894:
4891:
4889:
4886:
4884:
4881:
4879:
4876:
4875:
4873:
4870:
4866:
4860:
4857:
4855:
4852:
4850:
4847:
4845:
4844:Improvisation
4842:
4840:
4837:
4835:
4832:
4830:
4827:
4826:
4824:
4819:
4816:
4814:
4811:
4810:
4807:
4799:
4796:
4794:
4793:Lead vocalist
4791:
4790:
4789:
4788:Military band
4786:
4784:
4781:
4779:
4776:
4774:
4771:
4767:
4764:
4762:
4759:
4757:
4754:
4753:
4752:
4749:
4748:
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4741:
4738:
4736:
4733:
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4729:
4719:
4716:
4714:
4711:
4709:
4706:
4704:
4701:
4699:
4696:
4694:
4691:
4689:
4686:
4684:
4681:
4680:
4678:
4676:
4672:
4666:
4663:
4661:
4658:
4656:
4653:
4651:
4648:
4646:
4643:
4641:
4640:Hip hop music
4638:
4636:
4633:
4631:
4630:Country music
4628:
4626:
4623:
4621:
4618:
4616:
4613:
4612:
4610:
4608:
4602:
4596:
4593:
4591:
4588:
4586:
4583:
4581:
4578:
4576:
4573:
4571:
4568:
4566:
4563:
4561:
4560:Ottoman music
4558:
4556:
4553:
4551:
4548:
4546:
4543:
4541:
4538:
4536:
4533:
4531:
4528:
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4513:
4511:
4508:
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4503:
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4466:
4463:
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4461:
4458:
4456:
4453:
4451:
4448:
4446:
4443:
4441:
4438:
4437:
4435:
4433:
4429:
4425:
4418:
4413:
4411:
4406:
4404:
4399:
4398:
4395:
4383:
4375:
4373:
4369:
4365:
4363:
4355:
4353:
4345:
4344:
4341:
4338:
4336:
4333:
4331:
4328:
4326:
4323:
4322:
4319:
4313:
4310:
4308:
4305:
4301:
4298:
4296:
4293:
4292:
4291:
4288:
4286:
4283:
4281:
4280:New-age music
4278:
4276:
4273:
4271:
4268:
4266:
4263:
4261:
4258:
4256:
4253:
4252:
4250:
4246:
4240:
4237:
4235:
4232:
4230:
4227:
4223:
4220:
4219:
4218:
4215:
4214:
4212:
4208:
4202:
4199:
4197:
4194:
4192:
4189:
4187:
4184:
4182:
4179:
4177:
4174:
4172:
4169:
4168:
4166:
4162:
4156:
4155:United States
4153:
4149:
4146:
4145:
4144:
4141:
4139:
4136:
4134:
4131:
4129:
4126:
4124:
4121:
4119:
4116:
4114:
4111:
4109:
4106:
4102:
4099:
4098:
4097:
4094:
4092:
4089:
4088:
4086:
4082:
4072:
4069:
4067:
4064:
4062:
4059:
4057:
4054:
4053:
4051:
4049:
4045:
4037:
4034:
4033:
4032:
4029:
4025:
4022:
4021:
4020:
4017:
4013:
4012:
4008:
4006:
4003:
4002:
4001:
3998:
3997:
3995:
3993:
3989:
3981:
3978:
3977:
3976:
3973:
3971:
3968:
3967:
3965:
3963:
3959:
3956:
3952:
3946:
3945:Dates of eras
3943:
3941:
3938:
3937:
3935:
3931:
3927:
3920:
3915:
3913:
3908:
3906:
3901:
3900:
3897:
3885:
3881:
3877:
3875:
3867:
3866:
3863:
3862:
3856:
3855:
3854:Baroque music
3847:
3837:
3834:
3832:
3829:
3827:
3824:
3823:
3822:
3819:
3818:
3817:
3814:
3812:
3809:
3808:
3806:
3802:
3796:
3793:
3791:
3788:
3787:
3785:
3781:
3775:
3772:
3770:
3767:
3765:
3762:
3760:
3757:
3755:
3752:
3751:
3749:
3745:
3739:
3736:
3734:
3731:
3730:
3728:
3724:
3718:
3715:
3713:
3710:
3708:
3705:
3703:
3700:
3698:
3695:
3693:
3690:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3672:Saint-Georges
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3653:
3650:
3648:
3645:
3643:
3640:
3638:
3635:
3633:
3630:
3628:
3625:
3623:
3620:
3618:
3615:
3613:
3610:
3608:
3605:
3603:
3600:
3598:
3595:
3593:
3590:
3588:
3585:
3583:
3580:
3578:
3575:
3573:
3570:
3568:
3565:
3563:
3560:
3558:
3555:
3553:
3550:
3548:
3545:
3543:
3540:
3538:
3535:
3533:
3530:
3528:
3525:
3523:
3520:
3518:
3515:
3513:
3510:
3508:
3505:
3503:
3502:C. P. E. Bach
3500:
3498:
3495:
3491:
3488:
3486:
3483:
3481:
3478:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3457:
3456:
3453:
3449:
3446:
3444:
3441:
3439:
3436:
3434:
3431:
3430:
3429:
3426:
3425:
3423:
3419:
3415:
3410:
3406:
3399:
3394:
3392:
3387:
3385:
3380:
3379:
3376:
3369:
3365:
3362:
3359:
3358:Classical Net
3356:
3355:
3346:
3342:
3338:
3334:
3330:
3326:
3323:
3320:
3316:
3312:
3311:
3306:
3303:
3301:
3297:
3293:
3292:
3287:
3283:
3281:
3280:0-19-861459-4
3277:
3274:, 985 pages,
3273:
3269:
3266:
3263:
3262:0-393-92803-9
3259:
3255:
3251:
3248:
3245:
3244:0-393-96904-5
3241:
3237:
3233:
3229:
3226:
3223:
3222:0-393-95191-X
3219:
3215:
3212:, 4th vol of
3211:
3207:
3206:
3194:
3188:
3173:
3169:
3162:
3153:
3147:
3143:
3139:
3138:
3133:
3132:Tyrrell, John
3129:
3125:
3121:
3115:
3108:
3106:
3101:
3096:
3089:
3087:
3082:
3077:
3075:
3066:
3060:
3056:
3049:
3042:
3038:
3037:Kamien, Roger
3033:
3031:
3029:
3020:
3016:
3009:
3002:
2998:
2993:
2991:
2982:
2978:
2971:
2963:
2957:
2953:
2946:
2942:
2932:
2929:
2928:
2919:
2915:
2912:
2909:
2906:
2903:
2899:
2898:Keyed trumpet
2896:
2893:
2889:
2886:
2884:
2881:
2879:
2876:
2875:
2867:
2864:
2861:
2858:and then the
2857:
2853:
2849:
2846:
2843:
2840:
2838:
2835:
2834:
2824:
2821:
2819:
2816:
2814:
2811:
2809:
2806:
2805:
2803:
2802:Turkish music
2799:
2797:
2794:
2793:
2784:
2780:
2777:
2774:
2770:
2769:Contrabassoon
2767:
2765:
2762:
2760:
2757:
2755:
2752:
2749:
2745:
2742:
2740:
2737:
2735:
2732:
2730:
2727:
2725:
2722:
2719:
2716:
2715:
2714:
2712:
2708:
2707:
2702:
2692:
2690:
2686:
2682:
2678:
2675:
2667:
2664:
2661:
2660:double basses
2657:
2653:
2650:
2648:of the piece)
2647:
2643:
2640:
2637:
2634:
2633:
2632:
2630:
2626:
2622:
2621:viola d'amore
2612:
2609:
2598:
2589:
2580:
2578:
2574:
2570:
2565:
2563:
2559:
2555:
2551:
2547:
2542:
2540:
2536:
2532:
2528:
2524:
2518:
2516:
2511:
2502:
2499:composer and
2498:
2494:
2490:
2486:
2484:
2480:
2476:
2472:
2468:
2464:
2460:
2458:
2454:
2450:
2446:
2441:
2433:
2429:
2424:
2420:
2418:
2414:
2405:
2400:
2390:
2387:
2379:
2369:
2365:
2361:
2355:
2354:
2350:
2345:This section
2343:
2339:
2334:
2333:
2329:
2325:
2315:
2312:
2311:Gustav Mahler
2308:
2304:
2299:
2297:
2291:
2289:
2283:
2281:
2277:
2273:
2269:
2265:
2260:
2258:
2254:
2250:
2243:
2238:
2228:
2225:
2217:
2214:November 2021
2206:
2203:
2199:
2196:
2192:
2189:
2185:
2182:
2178:
2175: â
2174:
2170:
2169:Find sources:
2163:
2159:
2153:
2152:
2147:This section
2145:
2141:
2136:
2135:
2127:
2125:
2121:
2120:
2115:
2110:
2107:
2102:
2098:
2096:
2092:
2088:
2079:
2075:
2073:
2069:
2065:
2064:Ătienne MĂ©hul
2061:
2057:
2056:
2051:
2042:
2037:
2033:
2031:
2025:
2015:
2012:
2004:
2001:February 2021
1994:
1990:
1986:
1980:
1979:
1975:
1970:This section
1968:
1964:
1959:
1958:
1950:
1947:
1943:
1939:
1935:
1930:
1928:
1922:
1919:
1913:
1906:
1905:Mozart family
1901:
1897:
1895:
1891:
1883:
1879:
1875:
1872:
1868:
1867:
1861:
1857:
1855:
1845:
1840:
1829:
1826:
1818:
1815:February 2021
1808:
1804:
1800:
1794:
1793:
1789:
1784:This section
1782:
1778:
1773:
1772:
1764:
1756:, No. 45 in F
1755:
1754:
1748:
1746:
1745:
1740:
1735:
1733:
1729:
1725:
1719:
1716:
1715:Kapellmeister
1712:
1711:
1706:
1705:
1700:
1699:
1694:
1689:
1686:
1670:
1668:
1659:
1654:
1649:
1638:
1635:
1627:
1624:February 2021
1617:
1613:
1609:
1603:
1602:
1598:
1593:This section
1591:
1587:
1582:
1581:
1573:
1570:
1566:
1562:
1558:
1554:
1549:
1547:
1543:
1539:
1538:orchestration
1534:
1530:
1526:
1518:
1507:
1503:
1501:
1497:
1493:
1492:
1487:
1486:
1481:
1480:
1474:
1472:
1466:
1463:
1459:
1455:
1451:
1450:
1443:
1441:
1440:
1435:
1434:
1429:
1425:
1424:Charles Rosen
1421:
1420:
1411:
1407:
1403:
1399:
1394:
1379:
1377:
1373:
1369:
1365:
1361:
1360:divertimentos
1357:
1353:
1349:
1345:
1341:
1337:
1333:
1329:
1324:
1322:
1318:
1314:
1310:
1306:
1302:
1299:
1295:
1290:
1288:
1285:replaced the
1284:
1281:and then the
1280:
1276:
1271:
1268:
1264:
1260:
1256:
1252:
1248:
1243:
1241:
1240:
1235:
1231:
1230:Baroque music
1227:
1223:
1222:accompaniment
1219:
1215:
1211:
1207:
1196:
1193:
1185:
1182:November 2021
1174:
1171:
1167:
1164:
1160:
1157:
1153:
1150:
1146:
1143: â
1142:
1138:
1137:Find sources:
1131:
1127:
1121:
1120:
1115:This section
1113:
1109:
1104:
1103:
1092:
1087:
1083:
1081:
1077:
1073:
1072:solo concerto
1069:
1065:
1061:
1057:
1053:
1049:
1044:
1041:
1036:
1034:
1028:
1026:
1022:
1018:
1014:
1013:chamber music
1010:
1009:
1004:
1000:
996:
992:
988:
984:
980:
976:
975:
970:
964:
962:
958:
954:
950:
946:
942:
938:
934:
930:
927:
923:
918:
915:
911:
907:
903:
902:Neoclassicism
899:
887:
882:
880:
875:
873:
868:
867:
865:
864:
859:
856:
854:
851:
849:
846:
844:
841:
840:
837:
834:
833:
832:
831:
827:
826:
821:
818:
816:
813:
811:
808:
807:
804:
801:
799:
798:Neoclassicism
796:
795:
794:
793:
790:
787:
786:
781:
778:
776:
773:
769:
766:
764:
761:
760:
758:
756:
753:
752:
751:
750:
747:
744:
743:
739:
735:
734:
731:
728:
727:
723:
719:
718:
709:
706:
698:
688:
684:
678:
677:
672:This section
670:
666:
661:
660:
652:
650:
646:
642:
641:
636:
632:
628:
624:
620:
616:
612:
608:
604:
600:
596:
592:
588:
584:
580:
576:
572:
568:
564:
560:
556:
552:
548:
544:
540:
539:Michael Haydn
536:
532:
528:
524:
520:
516:
512:
508:
504:
500:
496:
492:
488:
484:
480:
475:
473:
469:
465:
461:
457:
453:
449:
445:
441:
437:
433:
429:
424:
422:
418:
417:
412:
408:
404:
403:accompaniment
400:
396:
392:
388:
384:
379:
377:
373:
361:
356:
354:
349:
347:
342:
341:
339:
338:
331:
329:
324:
320:
319:
309:
307:
304:
303:
293:
291:
288:
287:
284:
283:
280:
277:
276:
269:
266:
262:
261:
252:
250:
247:
246:
243:
240:
236:
235:
226:
224:
221:
220:
217:
214:
210:
209:
200:
198:
195:
194:
191:
190:
187:
184:
183:
176:
173:
169:
168:
159:
157:
154:
153:
150:
147:
143:
142:
133:
131:
128:
127:
124:
123:
120:
117:
116:
113:
109:Major eras of
108:
107:
101:
96:
92:
84:
81:
73:
63:
59:
53:
52:
46:
41:
32:
31:
19:
6436:
6422:
6408:
6197:Vatican City
6147:Turkmenistan
6047:South Africa
6017:Sierra Leone
5997:Saudi Arabia
5372:Burkina Faso
5032:Record label
4918:Music school
4778:Concert band
4688:Angular harp
4615:Circus music
4500:Arabic music
4307:Third stream
4270:Experimental
4101:Porto Alegre
4071:21st-century
4066:20th-century
4061:Contemporary
4018:
4009:
3859:
3852:
3754:Galant music
3404:
3339:(Hardback),
3328:
3308:
3289:
3286:Fry, Stephen
3271:
3264:(hardcover).
3253:
3246:(hardcover).
3235:
3224:(hardcover).
3213:
3209:
3192:
3187:
3175:. Retrieved
3161:
3135:
3114:
3103:
3095:
3084:
3054:
3048:
3040:
3018:
3008:
3000:
2980:
2970:
2951:
2945:
2878:Natural horn
2734:English horn
2704:
2698:
2671:
2618:
2605:
2569:Neoclassical
2566:
2543:
2527:chromaticism
2519:
2506:
2461:
2437:
2426:Portrait of
2409:
2382:
2373:
2358:Please help
2346:
2300:
2292:
2284:
2271:
2267:
2263:
2261:
2246:
2220:
2211:
2201:
2194:
2187:
2180:
2168:
2156:Please help
2151:verification
2148:
2124:Romantic era
2117:
2113:
2111:
2106:figured bass
2103:
2099:
2084:
2067:
2053:
2046:
2039:Portrait of
2026:
2022:
2007:
1998:
1983:Please help
1971:
1931:
1923:
1914:
1910:
1887:
1866:Don Giovanni
1864:
1850:
1821:
1812:
1797:Please help
1785:
1751:
1749:
1742:
1736:
1720:
1708:
1702:
1696:
1693:Joseph Haydn
1690:
1682:
1663:
1658:Thomas Hardy
1630:
1621:
1606:Please help
1594:
1568:
1550:
1522:
1504:
1489:
1483:
1479:da capo aria
1477:
1475:
1470:
1467:
1452:, (roughly "
1447:
1444:
1437:
1431:
1427:
1417:
1416:In his book
1415:
1325:
1291:
1272:
1247:musical form
1244:
1239:style galant
1237:
1234:counterpoint
1226:Alberti bass
1208:consists of
1203:
1188:
1179:
1169:
1162:
1155:
1148:
1136:
1124:Please help
1119:verification
1116:
1075:
1071:
1067:
1064:Joseph Haydn
1045:
1037:
1029:
1016:
1006:
972:
969:comic operas
965:
961:more audible
919:
898:architecture
895:
814:
701:
692:
681:Please help
676:verification
673:
638:
527:André Grétry
479:Joseph Haydn
476:
468:choral works
425:
416:style galant
414:
407:counterpoint
391:musical form
380:
371:
369:
328:21st-century
323:20th-century
306:Contemporary
222:
91:
76:
67:
48:
6301:Terminology
6281:Instruments
6087:Switzerland
6057:South Sudan
6052:South Korea
5977:Saint Lucia
5932:Philippines
5877:North Korea
5857:New Zealand
5852:Netherlands
5657:Ivory Coast
5497:El Salvador
5242:Afghanistan
5209:Micronesian
5010:Compilation
4923:Composition
4818:Composition
4783:Disc jockey
4756:Backup band
4683:Arched Harp
4440:Prehistoric
4382:WikiProject
4275:Light music
4260:Baroque pop
4255:Avant-garde
4210:Performance
3975:Renaissance
3962:Early music
3572:Hoffmeister
3542:Dittersdorf
3347:(Paperback)
3294:. Boxtree.
2848:Harpsichord
2744:Basset horn
2666:Double bass
2562:Carl Czerny
2554:Franz Liszt
2523:Louis Spohr
2501:clarinetist
2440:subdominant
2428:Mendelssohn
2413:harpsichord
2294:School, or
2060:grand opera
1946:Broadwood's
1882:tonic chord
1739:Romanticism
1364:Sonata form
1328:comic opera
1294:harpsichord
1287:harpsichord
1267:sonata form
1048:sonata form
991:double bass
979:harpsichord
914:modulations
587:Franz Benda
428:harpsichord
315: 1945
299: 1890
156:Renaissance
119:Early music
62:introducing
6187:Uzbekistan
6107:Tajikistan
6012:Seychelles
5992:San Marino
5827:Mozambique
5817:Montenegro
5787:Mauritania
5752:Madagascar
5747:Luxembourg
5702:Kyrgyzstan
5677:Kazakhstan
5482:East Timor
5432:Costa Rica
5397:Cape Verde
5307:Bangladesh
5292:Azerbaijan
5214:Polynesian
5204:Melanesian
4986:Production
4965:Organology
4930:Musicology
4665:Soul music
4620:Folk music
4605:Vernacular
4295:Film score
4290:Soundtrack
4229:Conducting
4148:Birmingham
4084:By country
3933:Definition
3816:Classicism
3804:Background
3783:Techniques
3759:Intermezzo
3717:Zingarelli
3622:MysliveÄek
3517:Boccherini
3507:J. C. Bach
3490:J. Stamitz
3485:C. Stamitz
2894:precursor)
2856:fortepiano
2842:Fortepiano
2837:Clavichord
2823:Tambourine
2790:Percussion
2595:See also:
2573:Stravinsky
2479:John Field
2453:consonance
2376:April 2012
2322:See also:
2184:newspapers
1837:See also:
1646:See also:
1533:modulation
1496:polyphonic
1391:See also:
1368:symphonies
1298:pipe organ
1283:pianoforte
1279:fortepiano
1218:homophonic
1152:newspapers
1021:pipe organ
858:Philosophy
730:Classicism
655:Classicism
436:fortepiano
411:liturgical
395:homophonic
45:references
6322:Album era
6202:Venezuela
6067:Sri Lanka
6022:Singapore
5907:Palestine
5862:Nicaragua
5792:Mauritius
5742:Lithuania
5627:Indonesia
5582:Guatemala
5282:Australia
5272:Argentina
5192:Caribbean
5146:Southeast
4871:and study
4869:Education
4859:Technique
4740:Ensembles
4650:Pop music
4482:Art music
4460:Religious
4340:Festivals
4239:Orchestra
4091:Australia
4056:Modernism
4048:New music
4019:Classical
3940:Art music
3831:Economics
3764:Pastorale
3712:Wranitzky
3632:Paisiello
3617:L. Mozart
3522:Cherubini
3465:Cannabich
3433:Beethoven
3421:Composers
2914:Post horn
2831:Keyboards
2808:Bass drum
2695:Woodwinds
2577:Prokofiev
2546:Beethoven
2503:, in 1826
2347:does not
2274:, namely
2272:classical
2041:Beethoven
1972:does not
1918:cantilena
1894:J.S. Bach
1871:dissonant
1786:does not
1767:1775â1790
1595:does not
1576:1750â1775
1500:homophony
1412:, Vienna)
1376:overtures
1356:serenades
1309:clarinets
1305:Woodwinds
1008:obbligato
995:bass viol
941:homophony
937:polyphony
848:Economics
810:Economics
643:(German:
421:orchestra
290:Modernism
279:New music
223:Classical
70:June 2023
6481:Category
6443:Category
6256:Timeline
6227:Zimbabwe
6117:Thailand
6112:Tanzania
6077:Suriname
6032:Slovenia
6027:Slovakia
5942:Portugal
5922:Paraguay
5897:Pakistan
5812:Mongolia
5767:Maldives
5762:Malaysia
5687:Kiribati
5607:Honduras
5522:Ethiopia
5517:Eswatini
5472:Dominica
5467:Djibouti
5422:Colombia
5387:Cameroon
5382:Cambodia
5367:Bulgaria
5352:Botswana
5312:Barbados
5199:Oceanian
5153:European
5109:Southern
5042:Sampling
4839:Notation
4773:Big band
4735:Musician
4465:Biblical
4362:Category
4031:Romantic
3970:Medieval
3874:Category
3851: â
3667:Sacchini
3637:Piccinni
3592:Kreutzer
3587:KoĆŸeluch
3567:M. Haydn
3562:Gyrowetz
3532:Clementi
3527:Cimarosa
3512:G. Benda
3448:Schubert
3288:(2004).
3270:(2006),
3234:(1996).
3177:20 March
3134:(eds.).
2925:See also
2892:Trombone
2818:Triangle
2739:Clarinet
2711:harmonie
2706:harmonie
2677:bassline
2656:bassline
2611:guitar.
2550:Schubert
2539:Romantic
2324:Tonality
2055:Lodoiska
1759:♯
1728:symphony
1667:overture
1648:Symphony
1491:concerto
1488:and the
1485:sinfonia
1352:concerto
1348:symphony
1321:bassoons
1263:Dynamics
1259:cadences
1255:dominant
1060:symphony
1040:dynamics
974:continuo
926:Newton's
780:Language
722:a series
720:Part of
695:May 2024
605:and the
460:concerto
456:symphony
387:Romantic
249:Romantic
130:Medieval
98:A young
6352:Warfare
6251:Outline
6207:Vietnam
6192:Vanuatu
6182:Uruguay
6162:Ukraine
6137:Tunisia
6042:Somalia
6002:Senegal
5957:Romania
5872:Nigeria
5837:Namibia
5832:Myanmar
5822:Morocco
5802:Moldova
5727:Liberia
5722:Lesotho
5717:Lebanon
5662:Jamaica
5642:Ireland
5617:Iceland
5612:Hungary
5577:Grenada
5562:Germany
5557:Georgia
5537:Finland
5512:Estonia
5507:Eritrea
5487:Ecuador
5462:Denmark
5437:Croatia
5427:Comoros
5377:Burundi
5342:Bolivia
5322:Belgium
5317:Belarus
5302:Bahrain
5297:Bahamas
5287:Austria
5277:Armenia
5257:Andorra
5252:Algeria
5247:Albania
5126:Central
5094:Central
5089:African
4472:Secular
4455:Martial
4445:Ancient
4352:Outline
4248:Related
4217:Concert
4123:Ireland
4118:Germany
4000:Baroque
3864:â
3836:Physics
3697:Traetta
3677:Salieri
3662:Rosetti
3597:Krommer
3480:Richter
3370:(IMSLP)
3366:at the
2908:Serpent
2888:Sackbut
2872:Brasses
2813:Cymbals
2796:Timpani
2779:Bagpipe
2764:Bassoon
2718:Piccolo
2685:serpent
2681:theorbo
2646:harmony
2615:Strings
2368:removed
2353:sources
2296:Les Six
2276:Baroque
2198:scholar
1993:removed
1978:sources
1807:removed
1792:sources
1710:Evening
1698:Morning
1685:strings
1616:removed
1601:sources
1471:Roccoco
1433:Jephtha
1428:affects
1382:History
1344:quintet
1214:rhythms
1210:phrases
1166:scholar
1066:). The
1017:notated
1003:figured
999:theorbo
949:harmony
929:physics
820:Physics
775:Element
452:quintet
383:Baroque
197:Baroque
58:improve
6457:Portal
6261:Albums
6222:Zambia
6157:Uganda
6152:Tuvalu
6142:Turkey
6102:Taiwan
6082:Sweden
6007:Serbia
5967:Rwanda
5962:Russia
5937:Poland
5912:Panama
5887:Norway
5807:Monaco
5797:Mexico
5757:Malawi
5712:Latvia
5697:Kuwait
5692:Kosovo
5672:Jordan
5647:Israel
5597:Guyana
5587:Guinea
5572:Greece
5552:Gambia
5542:France
5447:Cyprus
5392:Canada
5362:Brunei
5357:Brazil
5337:Bhutan
5327:Belize
5262:Angola
5233:
5163:Nordic
5158:Balkan
4993:Single
4898:Method
4849:Lyrics
4813:Theory
4372:Portal
4330:Genres
4201:T to Z
4196:R to S
4191:N to G
4186:K to M
4181:G to J
4176:C to F
4171:A to B
4138:Russia
4133:Kosovo
4113:France
4108:Canada
4096:Brazil
4005:Galant
3884:Portal
3747:Genres
3707:Wanhal
3702:Viotti
3647:Reicha
3642:Pleyel
3627:Neruda
3602:Kuhlau
3577:Hummel
3557:Gossec
3547:Dussek
3537:Czerny
3475:FrÀnzl
3443:Mozart
3343:
3335:
3317:
3298:
3278:
3260:
3242:
3220:
3148:
3130:&
3122:&
3061:
2958:
2636:Violin
2602:Guitar
2477:, and
2449:fourth
2434:, 1839
2309:, and
2266:(lit.
2253:Vienna
2200:
2193:
2186:
2179:
2171:
2114:Eroica
2043:, 1820
1938:London
1707:, and
1660:, 1792
1482:, the
1332:sonata
1317:flutes
1168:
1161:
1154:
1147:
1139:
1052:sonata
997:, and
953:chords
945:melody
933:axioms
843:Ballet
649:Vienna
489:, and
470:, and
440:sonata
405:, but
399:melody
47:, but
6296:Songs
6246:Index
6239:Lists
6217:Yemen
6127:Tonga
6092:Syria
6072:Sudan
6062:Spain
5987:Samoa
5947:Qatar
5902:Palau
5867:Niger
5847:Nepal
5842:Nauru
5777:Malta
5732:Libya
5682:Kenya
5667:Japan
5652:Italy
5622:India
5602:Haiti
5567:Ghana
5547:Gabon
5492:Egypt
5417:China
5412:Chile
5332:Benin
5141:South
5121:Asian
5104:North
5067:Remix
5062:Cover
5020:Remix
4834:Genre
4703:Nafir
4625:Blues
4607:music
4450:Dance
4424:Music
4325:Lists
4128:Italy
3692:Spohr
3687:Soler
3682:Sarti
3612:MĂ©hul
3582:Kraus
3552:Gluck
3438:Haydn
2937:Notes
2916:(see
2900:(see
2866:Organ
2860:piano
2781:(see
2771:(see
2746:(see
2724:Flute
2689:viols
2652:Cello
2642:Viola
2625:viols
2451:as a
2205:JSTOR
2191:books
1741:âthe
1525:opera
1402:Gluck
1313:oboes
1251:tonic
1206:theme
1173:JSTOR
1159:books
987:cello
983:organ
957:tonal
853:Music
815:Music
472:opera
432:piano
310:from
294:from
6389:Folk
6122:Togo
5927:Peru
5892:Oman
5772:Mali
5707:Laos
5637:Iraq
5632:Iran
5532:Fiji
5442:Cuba
5407:Chad
5131:East
5114:West
5099:East
5015:Live
4854:Song
4829:Form
4645:Jazz
3657:Rode
3652:Ries
3497:Abel
3470:Fils
3460:Beck
3341:ISBN
3333:ISBN
3315:ISBN
3296:ISBN
3276:ISBN
3258:ISBN
3240:ISBN
3218:ISBN
3179:2024
3146:ISBN
3059:ISBN
2956:ISBN
2729:Oboe
2575:and
2556:and
2548:and
2495:, a
2351:any
2349:cite
2326:and
2278:and
2247:The
2177:news
1976:any
1974:cite
1903:The
1790:any
1788:cite
1750:The
1704:Noon
1599:any
1597:cite
1542:mode
1370:and
1358:and
1336:trio
1319:and
1253:and
1145:news
1025:Mass
633:and
444:trio
434:(or
426:The
385:and
370:The
4893:PhD
3826:Art
2804:":
2430:by
2362:by
2160:by
1987:by
1801:by
1734:".
1610:by
1527:by
1296:or
1128:by
981:or
685:by
6483::
3230:;
3170:.
3144:.
3102:.
3083:.
3073:^
3039:.
3027:^
3017:.
2999:.
2989:^
2979:.
2683:,
2517:.
2473:,
2469:,
2465:,
2459:.
2305:,
2290:.
2282:.
2126:.
1701:,
1555::
1378:.
1362:.
1350:,
1346:,
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1338:,
1334:,
1323:.
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1311:,
1261:.
1082:.
993:,
989:,
963:.
724:on
651:.
629:,
625:,
621:,
617:,
613:,
601:,
597:,
593:,
589:,
585:,
581:,
577:,
573:,
569:,
565:,
561:,
557:,
553:,
549:,
545:,
541:,
537:,
533:,
529:,
525:,
521:,
517:,
513:,
509:,
505:,
501:,
497:,
485:,
481:,
454:,
450:,
446:,
442:,
312:c.
296:c.
254:c.
228:c.
202:c.
161:c.
135:c.
6459::
4416:e
4409:t
4402:v
3918:e
3911:t
3904:v
3397:e
3390:t
3383:v
3181:.
3156:â
3154:.
3107:,
3088:,
3067:.
3021:.
2964:.
2920:)
2904:)
2890:(
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2750:)
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2383:(
2378:)
2374:(
2370:.
2356:.
2227:)
2221:(
2216:)
2212:(
2202:·
2195:·
2188:·
2181:·
2154:.
2014:)
2008:(
2003:)
1999:(
1995:.
1981:.
1828:)
1822:(
1817:)
1813:(
1809:.
1795:.
1637:)
1631:(
1626:)
1622:(
1618:.
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1536:(
1195:)
1189:(
1184:)
1180:(
1170:·
1163:·
1156:·
1149:·
1122:.
885:e
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708:)
702:(
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693:(
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359:e
352:t
345:v
83:)
77:(
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68:(
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20:)
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