classical vs romantic music essay

Classical vs Romantic Music (Differences Between Classical And Romantic Music)

This article is going to give two highly important periods of Western Classical Music a chance to square up to one another and discover how they compare. Could it be that one period of musical history has extensively more to offer the performer and the listener than the other, or are they equal in their musical offerings?

Classical vs Romantic Music

It is important to understand the context of these periods of musical history. Before the classical period , came the Baroque period of music with composers like Bach, Handel, Vivaldi and Couperin. Following the classical period, there was what is now termed the Romantic Period that was in itself followed by the dawn of the 20 th Century or loosely titled, Modern Period of music . This then places the classical period roughly between 1750 -1830, and the romantic period between 1830 – 1900.

Periods of Classical music reflect the ages in which they existed. Culture, economics, society, politics all influenced and to some extent governed the development of music during these times. Each period of music is also built on the one that preceded it even though what it then comes to represent is frequently in contrast to it. By this, I mean that the musical and social conventions that were common in the classical period travelled through the Romantic period and enabled the new ideas to flourish.

Music of the classical period then reflected the baroque but also rejected it too. The gilt-edged, ornate opulence of the baroque was discarded in favour of a more modest and streamlined musical model. Likewise, the Romantic period moved away from the elegance and measured control of the classical period towards increasingly larger and complex music in an effort to more fully express the great range of human emotions.

This change in focus is key to understanding another difference between the periods of music. Classical music was highly expressive and communicative but the romantic composers drew perhaps an even greater focus on the human condition and the struggle of the spirit.

What connected the classical and romantic periods are instrumental groupings. Many ensembles that were created during the classical period carried through and developed during the romantic period. The orchestra, for example, was firmly established in the classical period and continued to enjoy favour in the romantic period and onwards.

The difference here is in respect of the pure numbers of performers. Even in the late symphonic works of Haydn, the composer would not have called for many more than 50 performers whereas the late romantic symphonic works regularly require in excess of one hundred performers.

The piano continued to be one of the most popular instruments during both periods of music as a solo instrument and also in the orchestral setting of the concerto. Piano trios, quartets and quintets also thrived through both periods of music. In addition, the full choir (soprano, alto, tenor, bass), as an ensemble continued to be the focus for many extraordinary works through both periods.

There were significant developments in the instruments themselves across both periods of musical history. The piano began in the times of Mozart and Haydn developing to the piano we recognise today as the concert grand. Woodwind instruments developed more complex key-work to cope with the demands made by classical composers.

Brass instruments established valve systems that brought a greater range and technical possibilities that the natural instruments could not offer. These steps forward were furthered significantly in the romantic period and encouraged the rise of the virtuoso performer who in a very real sense became the struggling hero ever popular during this era.

From the orchestra, choir, piano, string quartets came very different types of musical composition during these two periods of music. The symphony began in the classical period as a three or four movements musical form with a duration of around twenty minutes. As the symphony developed in the romantic period the form dramatically changed towards a more unified structure.

Symphonies that were thematically linked (Berlioz idée fixe for example), evolved and four movements became one continuous piece. The romantic symphony often had a programme or was inspired by literature leading to the tone poem and gigantic works like the Symphonie Fantastique by Berlioz or Mahler’s “Symphony for a Thousand”.

This, in turn, meant that the musical structures changed too. Familiar forms from the classical period like sonata form, rondo, ternary, variation form, all tended towards dramatic expansion in the romantic period. The gentle confines of periodic phrasing from the classical period grew into lengthy, extended melodic expressions that soared across the new expanses of the developed forms.

The romantic period pushed the older musical forms to breaking point, and in some cases where they are no longer recognisable. The composers focused on the facility to fully express the richest emotions in the romantic period often to the detriment of the composition which could be prolonged far beyond the natural possibilities of the musical material.

Whilst the classical period remained tonal (even in Mozart’s ‘Dissonance Quartet’), the romantic composers eventually drove tonality towards destruction. Harmonically the periods differ widely in this respect. Even though there are examples of highly intricate classical pieces they do not come close to the intense chromaticism that underlies the works of composers like Wagner, Scriabin and Schoenberg.

In many of Wagner’s compositions, the idea of a tonal centre, that dominated the classical models, vanishes in a haze of ever transient harmonic movement. Arnold Schoenberg then took the next step and devised his own harmonic system that completely dismissed tonal harmony. The gradual dissolution of the tonal framework that threaded its way through classical music began even as far back as the later works of Beethoven. Beethoven spanned both classical and romantic periods and in many ways prepared the way for the composers that followed to further develop his harmonic and structural innovations.

If we judge the classical and romantic periods in terms of the scale then the romantic period would win. The concertos and symphonies were almost demonstrations of excess and indulgence compared to the measured, concise classical pieces. If however, we are looking more completely at the music itself, then both periods produced remarkable works in their own right. The classical period gave rise to the romantic and in that sense they are inseparable.

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What Is The Difference Between Classical And Romantic Music?

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Have you ever heard a piece of music and wondered if it was from the Classical or the Romantic period? This is an interesting topic, because classical music has been around for centuries, while romantic music evolved after the Classical period as a very popular genre in Europe during the 19th century. 

In this blog post, we will discuss how these two styles of music differ from one another, and identify some of the famous composers of each style. 

What is Romantic Music?

Romantic music is a musical style that actually originated in the Classical era . The Romantic era was the period between the early 1800s to around 1900. It’s characterized as having lush harmonies and emotional or passionate elements. In other words, romantic music captures beautiful moments of love, longing, romance, and heartbreak through sound. Many popular songs can be considered romantic.

Romantic music can be associated with the Romanticism movement . It was a movement that focused on the importance of human emotions, freedom, and nature.

Some of the famous composers from the Classical era to the early 20th century are also considered Romantic composers. These noteworthy names include: Liszt , Chopin , Tchaikovsky , and Mendelssohn . All of these composers are associated with Romantic music because they all incorporate the lush harmonies that were popular during this time period.

Romantic music is also known as Classical romanticism due to its sensuousness in music. It’s a unique musical style that incorporates traditional aspects of classical form along with romantic elements.

Romantic music is usually elegant and complex, which makes it great for weddings or other special occasions such as anniversaries. It’s also a musical style that you can play in the background at a dinner party to set a lovely romantic mood.

There are both instrumental and vocal forms of Romantic music. 

Examples of Romantic Instrumental Music Include:

• Chopin’s Nocturnes Op. Nine and Opus Twenty Four
• Tchaikovsky’s Symphony N Six “Pathetique” and Swan Lake Ballet Suite

Examples Of Romantic Vocal Music Include:

• Schubert’s Ave Maria
• Dvorak’s Largo from New World Symphony (Op. Ninety Nine)
• Puccini’s Nessun Dorma and O Mio Babbino Caro, featured in the movie “The Phantom of the Opera”

Features Of Romantic Music Include:

• An emphasis on the emotions of the composer
• A sensuous tone, with lush harmonies and melodies that are either major or minor
• A wide range of instruments used: piano, violin, and cello, harp, clarinet, and flute.
• A focus on innovation and experimentation
• More harmony instead of melody 

What is Classical Music?

Classical music is a style of music that originated in Europe and is generally written for a small ensemble, most commonly including string instruments such as the violin. In classical music, there are very specific rules about how to write it, and it is often written to evoke specific emotions. 

An orchestra is one of the most common groups that perform classical music can be heard, but other classical music performers include chamber ensembles or solo works.

Classical music is often thought of as “high art” because it was created by composers that had an extensive education about musical theory, which includes several different types of scales, chords, keys, and other rules. 

It became popular during the time period when the Catholic Church was a dominant influence in society, and because of its connection to education, it continues to be associated with certain institutions.

Classical music is still being written today by composers that have received an education in this field but it has also begun to influence musicians of other genres, including jazz. Although many people think of classical music as something only older generations enjoy listening to, it is actually enjoying a resurgence in popularity.

This style of music has been around for hundreds of years and continues to inspire new generations. It has had a huge impact on Western culture for hundreds of years, especially in terms of bringing people together through cultural events like opera concerts . Famous composers of classical music include Mozart and Beethoven .

Features Of Classical Music Include:

• Complex and beautiful melodies
• Longer, more structured pieces
• Complex harmonies and counterpoints
• An emphasis on the human element in music, including improvisation
• The rhythm in classical music is primarily defined by: metrical stress, regular meter patterns with a single main pulse, and clear phrasing boundaries.

Classical music and romantic music are two distinct music styles that are quite different from each other. 

Here are some of the key differences between classical and romantic music: 

The Structure

Classical music tends to be more structured and rigid, while Romantic music is known for its free-flowing nature. Classical music leans towards uniformity with a singular look or style dominating all others; on the other hand, Romanticism encourages diversity and uniqueness. Classical has a specific form that is adhered to, while Romantic music is open and free-flowing

The Period Of Origin

Classical music was born in the Italian Renaissance period, while Romanticism came to life during the 19th century.

The Emotional Quality

Romantic music is usually played with a more modern sound by using guitars, drums, etc. Classical music is performed with an orchestra consisting of instruments such as the piano or the violin. The tempo is slower, which can create a more emotional mood. Classical, on the other hand, has a faster pace, thus creating an excitement for listeners.

The Ornamentation

Ornamentation is the embellishment of a melody with additional notes that aren’t essential to the original tune but are used to enhance the music. Ornamentation is very common in classical music while Romantic music doesn’t really employ this technique.

The Instrumentation

Romantic pieces are usually slightly modernized, often using guitars or drums. Classical music, on the other hand, adds ornaments to the melody but typically uses a traditional orchestra.

When you listen to a piece of Classical music, for example, it’s more structured and rigid while Romantic-era music encourages diversity. Ornamentation is applied in Romantic musical composition by adding additional notes that aren’t essential but make it sound much better.

Classical pieces are usually played with a large ensemble consisting of a string orchestra and additional instruments such as a piano.

The Overall Sound Quality

Classical music sounds like it has more depth, clarity, and richness, while Romantic music tends to sound less complicated but still beautiful. Classical music is usually played by a large ensemble consisting of string orchestras and sometimes a piano. Romantic music, on the other hand, has a slightly more modern sound due to the use of guitars, drums, etc.

Classical music is usually centered around themes that reflect nature and human life, while Romantic music tries to capture the beauty of dreams, love, and seasons.

Related Movements

Romantic music is related to movements such as romanticism, impressionism, expressionism, and modernism while Classical music is related to movements like neoclassicism.

Classical music is known for its use of complex harmonies, while Romantic music uses simple melodies.

Classical pieces are usually instrumental with no vocals, but can occasionally include a bit of singing to enhance the mood. Romantic songs tend to have words regularly sung or spoken in their melody more often than Classical music does, which enhances the mood.

Rhythm And Tempo

The rhythm in Classical music is very straightforward, while Romantic melodies have more complex rhythms with asymmetrical phrasing. This makes the melody flow from one note to another instead of using a steady beat. The tempo can affect the listener’s emotions when listening to this type of music.

The Progression Of the Music

Another difference between Classical and Romantic music is the progression of time in each style. Classical came to life in a specific historical period, while Romanticism seems to transcend time itself. Classical music is often regarded as a dead or dying music form, while Romanticism remains the most popular and widely enjoyed style.

The Composers

Classical composers include Beethoven, Mozart, and Bach while Romanticism is associated with the likes of Chopin, Tchaikovsky, and Debussy.

The Similarities Between Classical Music And Romantic Music?

There are a few similarities between these two musical styles. Here are the similarities between Classical and Romantic music:

• Classical music has been around longer, so it has more history
• Romantic music is part of the Classical era since it was written during that time period
• Classical symphonies are often longer than Romantic pieces, which typically last under ten minutes.
• Both styles use some similar instruments like the piano, violin, cello, and flute

Final Thoughts On Classical And Romantic Music Styles

The difference between Classical and Romantic music comes from the way that they are composed. Classical music was written with a lot of time, balance, structure, symmetry, orderliness in mind. 

Romantic composers had more freedom to create without following rules or guidelines as much as their predecessors had done before them. Romantic music is about expressing emotion rather than strict adherence to formality.

The differences between classical music and romantic music are vast, but it is important to understand these different styles in order to appreciate them for their uniqueness. When you listen to one style, try comparing it with its counterpart; this can help you hear where they overlap or diverge from one another.

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Heilbrunn Timeline of Art History Essays

Nineteenth-century classical music.

"Antonius" Violin

Antonio Stradivari

• Dubois et Couturier

Niccolò Paganini (1782–1840)

Jean Auguste Dominique Ingres

Cornet à Pistons in B-flat

Courtois frères

Christian Frederick Martin

Grand Pianoforte

Érard , made in London

Square Piano

Robert Nunns

Grand Piano

• Steinway & Sons

The Music Lesson

John George Brown

Giosue Esposito

Julian Alden Weir

• Lyon & Healy

Two Young Girls at the Piano

Auguste Renoir

Jayson Kerr Dobney Department of Musical Instruments, The Metropolitan Museum of Art

October 2004

The nineteenth century brought great upheaval to Western societies. Democratic ideals and the Industrial Revolution swept through Europe and changed the daily lives of citizens at all levels. Struggles between the old world order and the new were the root causes of conflicts from the Napoleonic Wars to the American Civil War . From New York, to London, to Vienna, the world was changing and the consequences can still be felt to this day.

The lives of musicians, composers, and makers of musical instruments were greatly altered by these social changes. In earlier times, musicians were usually employed by either the church or the court and were merely servants to aristocratic circles. Composers wrote music for performances in these venues, and musical instrument makers produced instruments to be played by wealthy patrons or their servant musicians. With the rise of the middle class, more people wanted access to music performances and music education.

A new artistic aesthetic, Romanticism , replaced the ideals of order, symmetry, and form espoused by the classicists of the late eighteenth century. Romantics valued the natural world, idealized the life of the common man, rebelled against social conventions, and stressed the importance of the emotional in art. In music, Romanticism, along with new opportunities for earning a livelihood as a musician or composer, produced two seemingly opposite venues as the primary places for musical activity—the large theater and the parlor.

Music as Public Spectacle One result of the Industrial Revolution was the creation of a middle class. This new economic strata consisted of a larger number of people with more disposable income and more leisure time than had ever existed before. Musical extravaganzas that triumphed the musician or composer gained popularity with the masses of concertgoers. Beginning with Beethoven, composers began to arrange large concerts in order to introduce their works to the public. As audiences desired more, composers wrote larger musical works and demanded more of performers and their instruments.

The “bigger is better” mentality led to new musical forms such as the tone poem and large-scale symphonic and operatic works . Orchestras grew, including larger string sections with a full complement of woodwinds, brass, and ever more percussion instruments. New types of orchestral winds ( 2003.150a–g ) and brass ( 2002.190a–n ) that allowed for greater facility and more accurate playing were introduced. Composers such as Hector Berlioz, and later Johannes Brahms and Richard Wagner, continually pushed the limits of the available musical forms, performers, instruments, and performance spaces throughout the nineteenth century.

Musicians who could dazzle and amaze their audiences by their virtuosity became the first musical superstars. The two most famous nineteenth-century examples were the violinist Nicolò Paganini (1782–1840) and the pianist Franz Liszt (1811–1886). Both dazzled audiences throughout Europe with their performances, elevating the status of the musician from servant to demigod. Their fame grew throughout Europe, and their likenesses would be recorded in a variety of visual arts.

In order to withstand the virtuosic and often bombastic playing of these soloists, as well as to provide the type of volume needed in large concert venues, more powerful instruments were needed. Larger and louder violins like those by Antonio Stradivari (1644–1737) or Guarneri del Gesù (1698–1744)—preferred by Paganini—replaced the quieter and subtler violins of earlier masters like Jacob Stainer (ca. 1617–1683) or the Amati family. The demands of pianists like Franz Liszt pressed the technology and design of pianos to ever-larger instruments, eventually replacing the internal wooden structures of the eighteenth century with cast-iron frames that could withstand thousands of pounds of pressure.

Parlor Music Conversely, music gained popularity in the intimate nineteenth-century parlor. At the time, home life was centered in the salon, or parlor, where children played and learned with adult supervision, and where the family entertained company. Musical performances for small groups of people became popular events, and some composers/performers were able to support themselves financially by performing in these small venues and attracting wealthy patrons. Most famous among these was Frédéric Chopin (1810–1849).

Music in the parlor was of a very different sort than in the concert hall. Solo performances and chamber music were popular, and included everything from operatic and orchestral transcriptions to sentimental love songs and ballads. In the United States, hymns and folk songs by composers like Stephen Foster (1826–1864) supplemented the European repertoire.

With the rise of the parlor as the center of family life, music education became increasingly important. Children were often taught to play musical instruments as part of a well-rounded education; for girls, playing an instrument was more important than learning to read. When guests and potential suitors visited, the children and teenagers would entertain with performances of the latest popular works.

All sorts of musical instruments were used in the home, and at various times the guitar , harp ( 2001.171 ), concertina, and banjo were extremely popular. However, the most important musical instrument in the home was the piano, because it was useful as both a solo instrument and as accompaniment to a group of singers or instrumentalists. To accommodate home use, smaller pianos were created, first square pianos and later uprights. Small pianos took up less space and, although they were not as powerful as larger types, they were also less expensive. With the technological advances of the Industrial Revolution, the mass manufacturing of musical instruments—especially pianos—provided a seemingly endless supply for the huge markets of both the United States and Europe. The piano would remain a central component of domestic life until it was replaced by the phonograph, radio, and television in the twentieth century.

Dobney, Jayson Kerr. “Nineteenth-Century Classical Music.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/amcm/hd_amcm.htm (October 2004)

Further Reading

Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music . Cambridge: Cambridge University Press, 2002.

Additional Essays by Jayson Kerr Dobney

• Dobney, Jayson Kerr. “ Archtop Guitars and Mandolins .” (September 2016)
• Dobney, Jayson Kerr. “ The Guitar .” (September 2007)
• Dobney, Jayson Kerr. “ The Piano: Viennese Instruments .” (March 2009)
• Dobney, Jayson Kerr. “ Military Music in American and European Traditions .” (October 2004)

Related Essays

• Military Music in American and European Traditions
• Music in the Renaissance
• The Piano: Viennese Instruments
• Alice Cordelia Morse (1863–1961)
• America Comes of Age: 1876–1900
• American Scenes of Everyday Life, 1840–1910
• Édouard Manet (1832–1883)
• Egyptian Revival
• George Inness (1825–1894)
• Henri de Toulouse-Lautrec (1864–1901)
• James McNeill Whistler (1834–1903)
• John Singer Sargent (1856–1925)
• Musical Instruments of the Indian Subcontinent
• Nineteenth-Century American Drawings
• Nineteenth-Century American Folk Art
• Nineteenth-Century American Jewelry
• Nineteenth-Century American Silver
• Photography and the Civil War, 1861–65
• Romanticism
• Violin Makers: Nicolò Amati (1596–1684) and Antonio Stradivari (1644–1737)
• Women Artists in Nineteenth-Century France

List of Rulers

• Presidents of the United States of America
• Central Europe and Low Countries, 1800–1900 A.D.
• France, 1800–1900 A.D.
• Great Britain and Ireland, 1800–1900 A.D.
• The United States and Canada, 1800–1900 A.D.
• 19th Century A.D.
• Biedermeier
• Brass Instrument
• Central Europe
• Musical Instrument
• North America
• Oil on Canvas
• String Instrument
• United States
• Wind Instrument

Artist or Maker

• Amati, Nicolò
• Böhm, Joseph
• Brown, John George
• Clark, John
• Courtois Frères
• Érard & Company
• Esposito, Giosue
• Graf, Conrad
• Ingres, Jean Auguste Dominique
• Martin, Christian Frederick
• Nunns, Robert
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• Stradivari, Antonio
• Weir, Julian Alden

Classical vs. Romantic

What's the difference.

Classical music is characterized by its structured and balanced compositions, with a focus on clarity, order, and restraint. It often features symphonies, sonatas, and concertos that adhere to strict rules of form and harmony. In contrast, Romantic music is more emotional, expressive, and individualistic, with an emphasis on passion, imagination, and freedom. Composers of the Romantic era, such as Beethoven, Chopin, and Schumann, sought to evoke intense emotions and tell personal stories through their music. While Classical music is known for its elegance and refinement, Romantic music is known for its intensity and drama.

Further Detail

Introduction.

Classical and Romantic are two distinct periods in the history of music that have left a lasting impact on the development of Western music. While both periods have their own unique characteristics, they also share some similarities. In this article, we will explore the attributes of Classical and Romantic music and compare them to better understand the differences between the two.

Classical Music

Classical music refers to the music composed during the Classical period, which lasted from the mid-18th century to the early 19th century. This period is known for its emphasis on clarity, balance, and form. Classical music is characterized by its use of structured forms such as sonata-allegro, rondo, and theme and variations. Composers of the Classical period, such as Mozart, Haydn, and Beethoven, focused on creating music that was elegant, refined, and emotionally restrained.

• Emphasis on clarity, balance, and form
• Structured forms such as sonata-allegro, rondo, and theme and variations
• Composers include Mozart, Haydn, and Beethoven
• Elegant, refined, and emotionally restrained music

Romantic Music

Romantic music, on the other hand, emerged in the early 19th century and lasted until the early 20th century. This period is characterized by its emphasis on emotion, individuality, and expressiveness. Romantic composers sought to evoke a wide range of emotions through their music, often using dramatic contrasts, rich harmonies, and expressive melodies. Composers such as Schubert, Schumann, and Chopin embraced the idea of music as a means of personal expression and pushed the boundaries of traditional forms.

• Emphasis on emotion, individuality, and expressiveness
• Use of dramatic contrasts, rich harmonies, and expressive melodies
• Composers include Schubert, Schumann, and Chopin
• Music as a means of personal expression

Orchestration

One of the key differences between Classical and Romantic music is the approach to orchestration. In Classical music, orchestration was often more transparent and focused on clarity of texture. Composers used smaller ensembles and paid close attention to the balance of instruments. On the other hand, Romantic composers embraced the use of larger orchestras and experimented with new instrumental combinations to create a richer, more colorful sound.

Another difference between Classical and Romantic music is the approach to form. Classical music is known for its adherence to structured forms such as sonata-allegro, minuet and trio, and theme and variations. These forms provided a sense of balance and symmetry to the music. In contrast, Romantic music often featured more free-form structures, allowing composers to explore new and innovative ways of organizing their music.

Emotion is a central theme in Romantic music, with composers seeking to evoke a wide range of emotions through their music. Romantic composers often used music as a means of personal expression, drawing on their own experiences and feelings to create deeply emotional works. In contrast, Classical music tends to be more restrained in its emotional expression, focusing on elegance and refinement rather than intense emotion.

Harmony is another area where Classical and Romantic music differ. Classical music is known for its use of traditional harmonic progressions and clear tonal relationships. Composers of the Classical period often adhered to strict rules of harmony and resolution. In contrast, Romantic composers pushed the boundaries of harmony, experimenting with dissonance, chromaticism, and unconventional chord progressions to create a more expressive and colorful sound.

In conclusion, Classical and Romantic music are two distinct periods in the history of music that have left a lasting impact on the development of Western music. While Classical music is characterized by its emphasis on clarity, balance, and form, Romantic music focuses on emotion, individuality, and expressiveness. The approach to orchestration, form, emotion, and harmony also differ between the two periods, with Classical music often being more restrained and structured, while Romantic music is more expressive and innovative. Both periods have their own unique attributes that have contributed to the rich tapestry of Western music.

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Classical music has had half a millennium to sort out its terminology — but there's still plenty of room for confusion, especially when describing musical eras. For example, not all classical music is Classical — in the sense that what's regarded as the Classical era ran from about 1750 to 1825.

That era was followed by the Romantic era, which ran from about 1825 to 1900. Much of that era's music is what you might call "romantic" in an amorous sense (Chopin's Étude No. 2, Brahms's Piano Sonata No. 3), but then there's also Wagner's Flight of the Valkyries and Verdi's Requiem . So where did the term "Romantic" come from?

Before the word "romantic" was routinely used to describe lovey-dovey stuff, it connoted a sweeping emotionalism — such as that associated with sunsets and poetry. By the beginning of the period we now call "the Romantic era" in the arts, the word was commonly used to describe a free-spirited expression, particularly among artists.

In reaction to the rationalizing process of the Enlightenment and the Industrial Revolution, the Romantic movement in the arts valorized subjective expression that was unfettered by rules and systems. Whereas Mozart's genius lay in his inventive use of his day's standardized musical tropes, Beethoven raised the stakes with his stormy — and, eventually, radical — departures from those tropes.

The defining composers of the Romantic era include Chopin, Brahms, and Tchaikovsky. These composers took Beethoven's intense subjectivity as a baseline and pushed even farther into the realms of drama and poignance — with a decreasing regard for the niceties of conventional composition. Wagner pushed the limits of tonality, and Mahler brought the era to a crashing climax with his sprawling symphonies. Beyond him lay the bizarre new worlds of Stravinsky and Schoenberg.

It's not a coincidence that the word "romantic" came to connote an atmosphere of loving connection — if you want to set the mood for an erotic evening, you're much more likely to go for Schumann's soaring strings than for Bach's Goldberg Variations . (Of course, to each his or her own.) To this day, when a composer wants to suggest themes of love or sensuality, he or she is likely to reach into the 19th-century toolbox.

You'll hear a lot of Romantic music on YourClassical's Romance stream — but you'll hear baroque arias, pop-tune transcriptions, and more. Love, after all, knows no bounds — temporal, stylistic, or otherwise.

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Classical vs Romantic Period Music: What is the Difference?

The evolution of Western classical music from the Classical period to the Romantic period represents one of the most significant transformations in music history. These two periods, spanning from roughly the mid-18th century to the early 20th century, reflect profound changes in the musical landscape, influenced by broader cultural, social, and political shifts. Understanding the differences between Classical and Romantic period music involves exploring various aspects such as compositional techniques, thematic content, instrumentation, and the role of the composer.

I. Historical Context

Classical period (c. 1730-1820).

The Classical period emerged in the mid-18th century, characterized by a reaction against the complexity and ornate styles of the Baroque era. This period coincided with the Age of Enlightenment, a time of intellectual and philosophical exploration that emphasized reason, clarity, and balance. These values were reflected in the music of the time, which sought to achieve clarity, symmetry, and structural coherence.

Prominent composers of the Classical period include Joseph Haydn, Wolfgang Amadeus Mozart , and Ludwig van Beethoven . Their works are noted for their clear musical form, balanced structures, and adherence to established genres such as the symphony, sonata, and string quartet.

Romantic Period (c. 1820-1900)

The Romantic period followed the Classical era and extended into the early 20th century. This era was marked by a heightened emphasis on emotion, individualism, and expressiveness, mirroring broader Romantic trends in literature, art, and philosophy. The Romantic movement was a reaction against the perceived rigidity and formalism of the Classical period, embracing a more personal and subjective approach to art and music.

Key composers of the Romantic period include Franz Schubert , Robert Schumann, Johannes Brahms, and Richard Wagner. Their music is characterized by emotional depth, expanded harmonic language, and innovative structures that often broke away from Classical conventions.

II. Compositional Techniques and Forms

1. melody and harmony, classical period:.

In the Classical period, melodies were typically clear, balanced, and diatonic. Composers favored singable, memorable themes that were often symmetrical in structure. Harmonically, the music of this era relied on a clear tonal center with predictable harmonic progressions, such as the use of tonic, dominant, and subdominant chords.

Romantic Period:

Melodies in the Romantic period became more expressive, longer, and often chromatic, reflecting greater emotional intensity. Harmonic language expanded to include more dissonance, chromaticism, and modulation to distant keys, creating a richer and more varied harmonic palette. This allowed for greater expressiveness and complexity in musical works.

2. Rhythm and Tempo

Classical music typically featured regular, clearly defined rhythms with a steady tempo. Composers adhered to strict metrical patterns, providing a sense of order and predictability. The use of tempo markings was precise, and changes in tempo were relatively rare and subtle.

The Romantic period saw a freer approach to rhythm and tempo, with greater use of rubato (the expressive bending of tempo) to enhance emotional expression. Composers employed more varied and complex rhythmic patterns, often reflecting the dramatic content of the music. Tempo changes became more frequent and pronounced, contributing to the dynamic and expressive nature of Romantic music.

3. Form and Structure

Classical composers favored well-defined forms such as sonata-allegro, rondo, and theme and variations. These forms provided a clear framework for musical development and thematic contrast. Symphonies, sonatas, and string quartets often followed a four-movement structure, with a fast opening movement, a slow second movement, a minuet or scherzo third movement, and a fast finale.

While Romantic composers still used Classical forms, they often expanded and modified them to suit their expressive aims. The symphonic form, for example, became more flexible, with movements sometimes linked thematically or played without interruption. New forms, such as the symphonic poem and the art song (Lied), emerged, providing fresh avenues for expression. Composers also wrote larger-scale works with more extended movements, reflecting the Romantic emphasis on drama and emotion.

See Also: Neoclassical Art and Classical Music: What Do They Have in Common?

III. Instrumentation and Orchestration

Classical period.

The Classical orchestra was relatively small and standardized, typically comprising strings, woodwinds, horns, trumpets, and timpani. Composers employed a balanced approach to orchestration, ensuring clarity and transparency in texture. Instruments were often used in predictable combinations, with a clear distinction between melodic and accompanimental roles.

Romantic Period

The Romantic orchestra expanded significantly in size and scope, incorporating a wider range of instruments, including piccolo, bass clarinet, tuba, and various percussion instruments. This allowed for a greater variety of timbres and dynamic contrasts. Composers experimented with orchestral color and texture, using innovative combinations of instruments to create unique soundscapes. The expanded orchestra enabled composers to achieve greater expressiveness and dramatic impact in their works.

IV. Thematic Content and Expression

Classical music often focused on balance, clarity, and formality, with themes that were generally abstract and universal. Emotional expression was present but typically restrained and controlled. Thematic content often revolved around ideals of beauty, order, and proportion.

Romantic music placed a greater emphasis on individual expression and emotional depth. Themes were often personal and programmatic, depicting specific stories, images, or emotions. Composers drew inspiration from literature, nature, and human experiences, infusing their music with a sense of drama, passion, and introspection. This period also saw the rise of nationalism, with composers incorporating folk elements and national themes into their works.

V. Role of the Composer

During the Classical period, composers were often employed by the church, the aristocracy, or the court. Their role was to provide music for specific occasions and functions, adhering to the tastes and preferences of their patrons. While composers had creative freedom, they were expected to work within established norms and conventions.

The Romantic period marked a shift towards greater autonomy for composers, who increasingly saw themselves as individual artists rather than servants of the church or court. Many composers sought to express their personal vision and emotions through their music, often self-financing their works and performances. This newfound independence allowed for greater experimentation and innovation, as composers were no longer bound by the constraints of patronage.

VI. Examples of Key Works

Joseph Haydn: Symphony No. 104 in D major (“London Symphony”) – Exemplifies Haydn’s mastery of the symphonic form, with its clear structure, balanced themes, and elegant orchestration.

Wolfgang Amadeus Mozart: Piano Sonata No. 11 in A major, K. 331 – Features the famous “Rondo alla Turca,” showcasing Mozart’s gift for memorable melodies and formal clarity.

Ludwig van Beethoven: Symphony No. 5 in C minor, Op. 67 – Represents the transition from Classical to Romantic, with its dramatic themes, innovative development, and motivic unity.

Franz Schubert: Symphony No. 8 in B minor (“Unfinished”) – Illustrates Schubert’s lyrical melodies, rich harmonies, and emotional depth.

Robert Schumann: Piano Concerto in A minor, Op. 54 – Combines virtuosic piano writing with orchestral color and expressive themes.

Richard Wagner: The Ring Cycle – A monumental work that exemplifies the Romantic ideals of drama, expressiveness, and innovative orchestration.

Influence and Legacy

The transition from the Classical to the Romantic period had a profound impact on the development of Western music. The innovations and expansions introduced during the Romantic era set the stage for subsequent musical movements, including Impressionism, Modernism, and beyond. The emphasis on individual expression, emotional depth, and programmatic content that characterized Romantic music continued to influence composers well into the 20th century.

Classical period music, with its emphasis on form, clarity, and balance, laid the foundation for these later developments, providing a framework that Romantic composers both built upon and expanded. The interplay between the Classical and Romantic traditions remains a central theme in music history, illustrating the dynamic evolution of musical art.

See Also: What City is Touted as the “Capital of Classical Music”

The differences between Classical and Romantic period music are multifaceted, encompassing changes in compositional techniques, thematic content, instrumentation, and the role of the composer. While the Classical period emphasized clarity, balance, and formal coherence, the Romantic period embraced emotional expression, individualism, and innovation. Together, these periods represent a rich tapestry of musical evolution, reflecting broader cultural and intellectual trends and leaving a lasting legacy on the world of music.

• Baroque vs Classical Period of Music: What Are the Differences
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Patria, a passionate and seasoned music journalist with a keen ear for the latest tunes and a deep appreciation for the diverse world of music. With a career spanning over a decade, Patria has become a respected voice in the music industry, offering insightful commentary, in-depth reviews, and engaging features.

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Classical Mozart vs. Romantic Beethoven?

When we read textbooks on music history, Mozart is frequently classified as a Classical, and Beethoven as a Romantic composer. It almost sounds like that these two musical giants were diametrically opposed to each other—like two boxers in a ring—with a clear boundary between them. Mozart and Beethoven didn’t hate each other, and they probably never personally met. Each clearly strove to express significant emotions, but they had somewhat different points of view. While the world of Mozart looked for order, poise, serenity and rational discourse, Beethoven’s world favoured ecstasy, wonderment, and irrationality. One searched for an objective and rational approach to life and art and looked upon the world in terms of universal brotherhood, while the other explored the world with intense subjectivity and in terms of personal feelings.

Apollo of the Belvedere

The philosopher Friedrich Nietsche compared the Classical era to Apollo, the god of light and measure, and the Romantic era to Dionysus, the god of wine, intoxication and passion. Both sentiments actually correspond to basic impulses of humanity, contrasting a need for moderation, entertainment, rationality and control of one’s emotion with the desire for uninhibited emotional expressions, the longing for the unknown and the unattainable. In simple terms, classicism is objective while romanticism is subjective.

As we know all too well from our present-day experiences, once rationality and feelings are treated as fundamental opposites, sparks do fly. Let us therefore survey notable composers active during the transitional period when aesthetic and musical worlds seemingly collided. Franz Schubert (1797-1828) might well be a central figure during this transitional period. Early in his career he was considered the last of the Classical composers, as he ignores the tumultuous Beethovenian models and returns to the poise and order of the Mozart universe.

The young Schubert by Josef Abel

This basic narrative of delineation between classicism and romanticism had social, cultural and economic roots and emerged from the revolutions in France and the United States. As an immediate outcome, power was transferred from the aristocracy to the middle class, and via the industrial revolution society depended on commerce and industry. It stimulated an emphasis on political, economic, religious and personal freedoms, but above all it featured an emphasis on the individual. And during the later stages of his career, Schubert decidedly turned towards the central ideas of romanticism. In his Lieder and late instrumental pieces he placed emphasis on the supernatural, the nocturnal, frightful and downright terrifying. Inspired by extra-musical associations, music became an entirely spiritual experience.

Hans Baldung, Death and the Maiden , 1517

For much of Mozart’s career, clarity, balance and transparency were hallmarks of the classical musical style. Music was subject to the principles of rhetoric and grammar, and contrasting musical ideas introduced listeners to opposing affects and ideas. A heavy emphasis on musical form included intellectual and sometimes emotional dialogs, and the musical focus fell on melody and on a simple musical texture. Music was to be noble as well as entertaining, and it should always be natural and uncomplicated. Mozart, for subsequent generations seemingly became the poster child for this Classical musical style. However, when we really start to explore Mozart’s music, all these simplistic generalizations don’t hold true. While he was certainly guided by the ideals of classicism, the exceptional emotional and even demonic qualities that informed his finest masterpieces are definitely precursors of the romantic ideals. A scholar writes, “In all of Mozart’s supreme expressions of suffering and terror, there is something shockingly voluptuous.”

Portrait of Schubert by Gabor Melegh, 1827

We consider Ludwig van Beethoven a revolutionary composer working during revolutionary times. Imbued with the Romantic spirit, he loosened formal constraints and presented uninhibited expressions of his ideas and emotions. He found a new freedom of expressions, and in his instrumental music, freed from the burden of words, he could communicate pure emotion. His music does reach new extremes in terms of length and brevity, and he explored the most distant harmonic and tonal relationships. Extreme contrasts of dynamics are supported by the use of highly expressive terms as a hint to the mood of the music. Beethoven, it is argued, was preoccupied with inner problems, a sense of eternal longing, and a regret for lost happiness and childhood. Wrongly, we tend to think of Beethoven as a grumpy old pessimist. Nothing, however, could be further from the truth as he stands as a bridge between the Classical and the Romantic. In his compositions, Beethoven most perfectly struck a balance between these two contrasting worldviews.

Muzio Clementi by Thomas Hardy

Mozart and Beethoven were not the only composers trying to make sense of this cultural paradigm shift. In fact, they were joined by a whole host of highly talented and exceptional composers. Among them was Muzio Clementi (1752-1832), remembered as one of the most noted and influential musicians during this transitional period. Born in Rome but mostly active in England, he was “the first of the great virtuosos and may well be regarded as the originator of the proper treatment of the modern pianoforte… he is the first composer completely equipped writer of sonatas.” Clementi personally met Haydn and Mozart, and he was aware of Beethoven’s late works. Beethoven had the highest regard for Clementi, and he greatly admired the Clementi sonatas because they were expressly written for the capabilities of the piano. Not unlike Mozart and Beethoven, Clementi stood firmly on the shoulders of both the classical and romantic traditions. And Johannes Brahms was one of his biggest fans.

Johann Nepomuk Hummel

Johann Nepomuk Hummel (1778-1837) studied with Mozart for about two years between 1768 and 1788. Hummel’s talent impressed Mozart, and he not only agreed to teach him for free, but also provided him with free lodging and food. Hummel came to composition via the piano, just like Clementi, and he was also one of the great virtuosi of his day. Hummel’s own compositions obviously start with Mozartian models, but he took a different direction than Beethoven. Hummel simultaneously challenged classical harmonic structures and the extension of form, and his influence informed the early works of Chopin and Schumann . A critic writes, “the openings of the Hummel A minor and Chopin E minor concertos are too close to be coincidental.” Trying to make sense of the shifting parameters in musical thought, Hummel’s music powerfully reflects the transition from the Classical to the Romantic musical era.

Franz Joseph Haydn by Thomas Hardy, 1791

The Classical composer Franz Joseph Haydn (1732-1809) had one of the most original musical minds. For long periods of time he was isolated from other composers and trends in music, and as he wrote, “It forced me to become original.” In a great number of compositions, Haydn loved to play with the expectations of the listeners. And in one particularly famous composition, his music is tied to a social cause, one of the distinct traits of musical romanticism. The “Farewell Symphony” is arguably Haydn’s most extraordinary composition. Haydn and his band of musicians were to remain for an additional two months in a remote location before being allowed to go home. Everybody protested, but Haydn’s solution was to compose a symphony with a message for Prince Nikolaus. At the end of the symphony, one by one, the players blew out the candles on their music racks and left the room. The Prince took the hint and Haydn won the day. Basing an entire five-movement symphony on extra-musical inspirations and social clauses is boldly knocking on the door of romanticism.

The young Mendelssohn

Felix Mendelssohn (1809-1847) grew up in a household belonging to the intellectual and financial elite of Berlin society. By the time he had reached his 14th birthday, he already had an impressive variety and number of works in his compositional portfolio. In fact, between 1821 and 1823 alone, he composed a total of 12 symphonies for strings. The teenage composer assembled a series of compositions that skillfully synthesized Classical forms with Baroque techniques and Romantic orchestral techniques and symphonic processes. Mozartian in its formal clarity and expressive contrast, the development takes full advantage of this thematic simplicity by presenting the material in a variety of harmonic and instrumental guises. The harmonic progressions are highly sophisticated, and the fugal conclusion must have caused some mild surprises. Here as elsewhere in Mendelssohn, classical poise and romantic fervor happily coincided side by side.

Carl Philipp Emanuel Bach

When we look for the precursors of musical romanticism, we clearly need to consider Bach. However, the Bach in question is Carl Philipp Emanuel Bach (1714-1788), son of the famed Johann Sebastian . He was highly esteemed during his lifetime and praised by Mozart, Haydn and Beethoven, but his name fell into neglect during the 19th century. Working in Berlin, C.P.E. maintained regular contacts with Moses Mendelssohn—grandfather of Felix Mendelssohn—the founder of German popular philosophy and one of the central figures of the Enlightenment. Concordantly, he was a close personal friend of the poet Johann Gellert. Gellert paved the way for a movement in German literature and art in which subjectivity and extremes of emotion were given free expression. Named “Sturm und Drang” (Storm and Urge) after a popular poem, this literary stream eventually relished tormented, gloomy, terrified and irrational feelings. Relying on extreme unpredictability and a wide range of emotions, C.P.E’s music easily moves with complete freedom and variety across the entire spectrum of structural designs. His true legacy is not merely felt in the psychological realm of Romanticism, but in the improvisatory and cyclic musical experiments of the19th century.

Johannes Brahms, c. 1894

In stark contrast to the stormy and passionate works of composers like Richard Wagner and Franz Liszt , Johannes Brahms (1833-1897) retained reverence for the classical heritage and maintained the Romantic tradition of his great predecessors. During his compositional career, Brahms exhibited a heightened sense of musical insecurity. He self-consciously responded to criticism, even when leveled by his closest personal friends, and he ruthlessly destroyed or severely reshaped his compositions. As a case in point, Brahms completed his B-major Trio in 1853 but revised the work some 36 years later. The revised work combines youthful romantic exuberance with sophisticated musical textures and an entirely logical and classical way of constructing motive and controlling their subsequent development. Brahms combines the warm lyricism of romantic imagination with a muscular intellectual rationality.

The title of this article talks about the collision of two musical worlds, but in reality it never happened. It is true that the composers featured in this article tried to artistically make sense of conflicting worldviews, but they still talked to each other and learned from each other. They drew inspiration from both sides of this aesthetic divide, and their artistic solutions and compromises are of fundamental significance to Western cultural and artistic thought.

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Great article describing the differences and commonalities of classical and romantic music. Also, wonderful examples of performances.

What about Jan Ladislav Dussek? He was a Romantic sooner then musical traditionitalists want to admit. The level of Romantic expression in his music is just amazing.

The Schubert string quartet uses thirteenth chords. These contribute to the Romantic quality of the work. A typical one would be the minor 13th chord, spelled G, F, B, Eb.

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The 6 Different Eras Of Classical Music: A Complete Guide

European classical music dates back to the Middle Ages, around AD 500, and continues into the 20th and 21st centuries.

Several things link all this music together, but a key feature of Western art music, as it is sometimes called, is the use of formal notation, unlike folk music, which isn’t usually written down.

Classical music has changed a lot over the centuries, so we divide it into different periods or eras. Each era has its own sounds, traits, and famous composers. For example, a Gregorian chant from the Medieval period sounds very different from a Romantic-era opera.

This guide covers the main classical music eras: Medieval, Renaissance, Baroque, Classical, Romantic, and 20th-century classical, spanning over 1,500 years!

Table of Contents

The Medieval Period (AD 500–1400)

By far the longest era of classical music, the Medieval music period stretches from AD 500 to 1400 — a time span of 900 years!

One of the most significant developments during this time was that music was notated for the first time ever, allowing musical information to spread much more easily.

The era can be split into three mini-periods:

• Early Medieval music (500-1150)
• High Medieval music (1150-1300)
• Late Medieval music (1300-1400)

Art, at this time, was tied closely with religion. The main form of music was the Gregorian chant, or plainsong, which was sung by monks during Mass in the Catholic Church.

The music was monophonic , meaning it contained just a single melodic line sung in unison, with no accompanying harmony parts or instruments.

Here is an example, sung by the Gregorian Choir of Paris:

Polyphonic music (which has two or more simultaneous independent melodic parts) began to develop in the second half of the Medieval period. This paved the way for the grander Renaissance style that was to follow.

The Renaissance Period (AD 1400–1600)

From 1400 to 1600, the Renaissance Era saw music become more expressive and complex.

Religious music was still ubiquitous, but secular music increased in popularity, as composers were allowed to write creative music for its own sake. The invention of the printing press also allowed for more widespread distribution.

Technological developments in instrument-making gave ensembles access to larger ranges and increased textural variety. Harmony became richer, as it started to sound a little closer to the kind of functional tonality we use today.

Important Renaissance composers, many of whom focused upon choral music, include Josquin des Prez, a Frenchman who wrote both secular and sacred works; Italian composer of religious works Giovanni Pierluigi da Palestrina; and the Englishman Thomas Tallis.

Here is a vocal piece by des Prez:

The Baroque Period (AD 1600–1750)

The Baroque Era was the dominant style during the years 1600–1750.

Perhaps its most distinctive feature is the use of dense polyphony, where multiple complex melodies weave in and out of each other to impressive effect.

Many of the forms and structures established during this period, including opera and concertos (one or more soloists featured with an ensemble), would become mainstays of classical music over the following centuries.

“Common practice harmony,” the functional tonal system that would remain prevalent through the Classical and Romantic periods, was also established.

The Brandenburg Concertos are by Johann Sebastian Bach, one of the greatest composers of all time:

Composers such as Antonio Vivaldi, Geroge Friedrich Handel, Henry Purcell, and Arcangelo Corelli began to experiment with larger ensembles, thus essentially birthing the orchestra .

At the other end of the ensemble spectrum, solo keyboard works were also popular. The pieces composed for the harpsichord, the predecessor to the piano, were ornate contrapuntal (another word for polyphonic), an archetypal sound of the Baroque period.

The Classical Period (AD 1730–1820)

Confusingly, the word “ Classical era ” (capitalized) refers to this specific era (1730–1820), while “classical” (non-capitalized) refers to the whole Western art music tradition we are covering in this post.

Melody was now the order of the day: simple, elegant tunes and highly elegant tunes organized in neat, balanced phrases, in contrast to the complexity of the Baroque era.

The more expressive pianoforte now replaced the harpsichord as the dominant keyboard instrument of the age.

This era also saw the orchestras become bigger with the addition of proper woodwind sections.

The symphony, an extended orchestral piece with four contrasting movements, was born, as was the string quartet.

Pioneered by Austrian composer Joseph Haydn, the video below was a chamber music format that most major composers would write for over the following centuries.

Supreme melodicist Wolfgang Amadeus Mozart is the archetypal Classical composer and perhaps the most famous composer and prodigy of all time.

He was followed by Ludwig van Beethoven, who bridged the gap between the Classical and Romantic eras. Beethoven wrote grand scale works, expanding upon previously strict symphonic rules and introducing programmatic content (meaning pieces with extra-musical narratives; music that is about something).

The Romantic Period (AD 1800–1910)

Following Beethoven’s developments, the Romantic Period (1800–1910) saw composers free themselves from the restrictive conventions of the Classical era, working on a grander scale with much more expressive and emotive content.

The trend for programmatic works continued, with music inspired by nature, literature, legends, national identity, and other non-musical stimuli.

We now see the emergence of stunning virtuoso performers, who were widely lauded for their instrumental skills. Franz Liszt and Frédéric François Chopin were both composers and brilliant pianists.

German composer Richard Wagner was particularly influential in the development of opera, using much more adventurous harmony, increasing chromaticism, and pioneering the use of leitmotifs (musical phrases that represent specific characters).

His ideas influenced the likes of Richard Strauss, Verdi, and Puccini.

Here is Wagner’s famous “Ride of the Valkyries”:

The 20th Century (1900–Present)

A vast range of totally new and radical music came out of the 20th century, as composers reacted in different ways to the conventions and traditions of previous decades.

One example of this was Impressionism, a movement in the late 19th and early 20th centuries, in which French composers like Claude Debussy and Maurice Ravel used ambiguous tonality and unusual scales like the whole tone scale to suggest color, mood, and atmosphere.

Elsewhere, the modernist movement was about rejecting tradition and embracing individuality.

Arnold Schoenberg pioneered atonalism, a dissonant-sounding music that dispenses with traditional harmonic function. Meanwhile, Russian composer Igor Stravinsky’s use of rhythm was highly innovative, utilizing frequently shifting time signatures.

This is particularly evident in his revolutionary ballet The Rite of Spring :

Several American composers, including Leonard Bernstein and George Gerswhin, looked towards jazz — then an exciting new art form — for inspiration.

Later on, minimalists like Phillip Glass and Steve Reich used minimal musical material, extensive repetition, and electronic techniques, reflecting the technological advances of the day.

Summarizing Classical Music Eras

That concludes our guide to the eras of classical music. We hope you find it interesting and useful.

One of the best ways to get familiar with each era is to listen to the major composers from each period.

As you explore these periods, you’ll start to recognize their unique styles. Listening to a variety of pieces will deepen your appreciation and help you identify the era of any classical piece you hear.

Happy listening!

Dan Farrant

Dan Farrant, the founder of Hello Music Theory, has been teaching music for over 15 years, helping hundreds of thousands of students unlock the joy of music. He graduated from The Royal Academy of Music in 2012 and then launched Hello Music Theory in 2014. He plays the guitar, piano, bass guitar and double bass and loves teaching music theory.

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Early Romantic Era

Romantic music.

This short page lists some of the philosophical and social trends that influenced Romantic music. It is important to understand that scholars do not always agree on the dates for historical periods in music. In fact, over the past 100 years, there has been some debate as to whether the periods we refer to as Classical and Romantic are distinct enough to merit separate labels. For the purposes of this course, we accept that there are sufficient differences to consider the music composed between the death of Bach (1750) and the beginning of Beethoven’s late period (ca. 1815), and the music composed during the remainder of the 19th century and early 20th century as representing different historical periods. But you will certainly notice that Romantic music bears a much closer resemblance to Classical music than Classical music does to any of the earlier periods.

Introduction

Romantic music is a term denoting an era of Western classical music that began in the late 18th or early 19th century. It was related to Romanticism, the European artistic and literary movement that arose in the second half of the 18th century, and Romantic music in particular dominated the Romantic movement in Germany.

Background:  Romanticism

The Romantic movement was an artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe and strengthened in reaction to the Industrial Revolution. In part, it was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education, and natural history.

One of the first significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, but it was E.T.A. Hoffmann who really established the principles of musical romanticism, in a lengthy review of Ludwig van Beethoven’s Fifth Symphonypublished in 1810, and in an 1813 article on Beethoven’s instrumental music. In the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later works of Haydn and Mozart. It was Hoffmann’s fusion of ideas already associated with the term “Romantic,” used in opposition to the restraint and formality of Classical models, that elevated music, and especially instrumental music, to a position of pre-eminence in Romanticism as the art most suited to the expression of emotions. It was also through the writings of Hoffmann and other German authors that brought German music to the centre of musical Romanticism.

Characteristics often attributed to Romanticism, including musical Romanticism, are:

• a new preoccupation with and surrender to Nature
• a fascination with the past, particularly the Middle Ages and legends of medieval chivalry
• a turn towards the mystic and supernatural, both religious and merely spooky
• a longing for the infinite
• mysterious connotations of remoteness, the unusual and fabulous, the strange and surprising
• a focus on the nocturnal, the ghostly, the frightful, and terrifying
• fantastic seeing and spiritual experiences
• a new attention given to national identity
• emphasis on extreme subjectivism
• interest in the autobiographical
• discontent with musical formulas and conventions

Such lists, however, proliferated over time, resulting in a “chaos of antithetical phenomena,” criticized for their superficiality and for signifying so many different things that there came to be no central meaning. The attributes have also been criticized for being too vague. For example, features of the “ghostly and supernatural” could apply equally to Mozart’s Don Giovanni from 1787 and Stravinsky’s The Rake’s Progress from 1951.

Trends of the 19th century

Non-musical influences.

Events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music. For example, the Industrial Revolution was in full effect by the late 18th century and early 19th century. This event had a very profound effect on music: there were major improvements in the mechanical valves, and keys that most woodwinds and brass instruments depend on. The new and innovative instruments could be played with more ease and they were more reliable.

Another development that had an effect on music was the rise of the middle class. Composers before this period lived on the patronage of the aristocracy. Many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music. The Romantic composers, on the other hand, often wrote for public concerts and festivals, with large audiences of paying customers, who had not necessarily had any music lessons. Composers of the Romantic Era, like Elgar, showed the world that there should be “no segregation of musical tastes” and that the “purpose was to write music that was to be heard.”

Nationalism

During the Romantic period, music often took on a much more nationalistic purpose. For example, Jean Sibelius’ Finlandia has been interpreted to represent the rising nation of Finland, which would someday gain independence from Russian control. Frédéric Chopin was one of the first composers to incorporate nationalistic elements into his compositions. Joseph Machlis states, “Poland’s struggle for freedom from tsarist rule aroused the national poet in Poland. . . . Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin.” His mazurkas and polonaises are particularly notable for their use of nationalistic rhythms. Moreover, “During World War II the Nazis forbade the playing of . . . Chopin’s Polonaises in Warsaw because of the powerful symbolism residing in these works.” Other composers, such as Bedřich Smetana, wrote pieces which musically described their homelands; in particular, Smetana’s Vltava is a symphonic poem about the Moldau River in the modern-day Czech Republic and the second in a cycle of six nationalistic symphonic poems collectively titled Má vlast (My Homeland). Smetana also composed eight nationalist operas, all of which remain in the repertory. They established him as the first Czech nationalist composer as well as the most important Czech opera composer of the generation who came to prominence in the 1860s.

• Authored by : Elliott Jones. Provided by : Santa Ana College. Located at : http://www.sac.edu . License : CC BY: Attribution
• Romantic music. Provided by : Wikipedia. Located at : http://en.wikipedia.org/wiki/Romantic_music . License : CC BY-SA: Attribution-ShareAlike

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The Rise of Musical Romanticism

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Classical Vs. Romantic Era Music Comparison And Contrast Essay Essay Sample

Type of paper: Essay

Topic: Music , Relationships , Love , Harmony , Classical Music , Art , Composers , Style

Published: 02/20/2023

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Some of the best musical pieces ever known to man have been developed during the Classical and Romantic eras. The Classical Era covers the period between 1750 and 1800; the Romantic Era, on the other hand, covers much of the 19th century. As can be seen, the Classical Era of music covers a relatively shorter period of time compared to the Romantic one. This is not enough to say that the musical pieces released during that shorter period are inferior to the ones released during that longer period, however. When it comes to classical music, the role of the composer or the person who creates and writes the music is much more limited compared to romantic music. The highlight of the classical era of western music was the idea of classicalism, a style of arts (not just music, including literature, paintings) that got popularized during the mid-18th century in Europe. It highlighted the significant of instrumental music; its content was mainly composed of traits related to emotional balance and restraint. Some of the famous composers during this era were Ludwig Van Beethoven, Wolfgang Amadeus Mozart, and Joseph Hayden. People got so used to the classical music that their rationale for creating and listening to music changed in the era that succeeded—this was the romantic era. The composers’ role and focus during this era included themes that can be related to nature and self-expression. It is important to note that Romanticism was a comprehensive art movement, just like classicalism, that not only affected music but other forms of art as well such as literature, painting, and other intellectual works. Famous composers who emerged during this period would include Felix Mendelssohn, Robert Schumann, Franz Schubert, and Franz Liszt, among others. In terms of harmonic language and style (and aesthetics), the obvious differences between musical pieces publicized during the two eras can be observed by checking their respective musical arrangements. In the case of classical music pieces, symphonies or long and complex sonata parts are common. This is quite evident in Ludwig Van Beethoven’s works. In fact, among his popular musical works included a large portion of symphonies and sonatas—some of it were even solely symphonies and or sonatas. The same can, in fact, be true for musical pieces publicized during the succeeding period or the romantic era. After all, this era was just around the corner and the years it took to develop new musical pieces were not that many. One distinct feature that romantic era musical pieces had in this aspect would be the presence of larger symphony and sonata compositions that have solo piano works—something that is not typically seen in classical era musical pieces. The harmony of majority of classical era music was mostly diatonic. Diatonic harmony is composed of two parts of music: music that is played diagonally and across or through; so when an instrumentalist plays a certain chord, he only focuses on and plays the notes included in the scale that he selected. During the romantic era, they used chromatic harmony instead of the diatonic one. The difference was that chromatic harmony uses notes that are not a part of selected scale which is why chromatic harmonized musical pieces often contain sounds that are different (but nonetheless harmonious) when one listens to it. In conclusion, romantic and classical eras of music represent a highly significant portion of the western musical history. The latter may be a shorter period than the former but that does not tell a lot of story in terms of their different qualities. It can be said that they are equally good in terms of the quality of music popularized during the respective periods. However, just like any forms of art, the beauty of music would depend highly on the ears of the listener. Classical and Romantic music are played for different reasons or modes of expression; they also differ in terms of harmony, style, and arrangement.

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61 Classical Music Essay Topic Ideas & Examples

🏆 best classical music topic ideas & essay examples, 👍 interesting topics to write about classical music, 📃 good research topics about classical music.

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• Modernist Movement in Music: Investigating Style Evolution of Western Classical Music The modernist movement in music seems appropriate for this paper because of the unique and exciting styles of composing modern-era music, such as jazz, pop, and rock.
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• Pieces From Classical and Romantic Music E-Concert The material of the first part is repeated, and at the end of the Overture the harmonic balance of the orchestra is assaulted by sudden sounds of trombones, as if questioning the achieved harmony.
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Comparing Classical and Romantic Music Essay

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Comparing Classical and Romantic Music through the finale of Mozart “Clarinet Quintet” and Mailer’s Symphony no. L in D major “Titan” By steps_eve The Music of the classical and Romantic era is a period of time where it shows the development and different styles of music. This can be shown through the manipulation of musical elements, (dynamics, pitch, tempo, rhythm, texture, meter, tonality, structure, melody, harmony, instrument) while contrasting them, but it can also be shown through the composers of the music, the size of the orchestra, musical directions, emotional content, and non-musical developments through that period of time.

After the Renaissance and the Baroque era, the Classical era soon followed at around the 1720-sass’s. During these times in Europe, there were many non musical developments, ideas of the enlightenment, political issues, scientific discoveries and the reexamination of established ideas, including the existence of God. Many of these ideas and has got huge impact on the heavy Monumental baroque style and later developed with a more intimate rococo style, with its light colors, curved lines, and graceful ornaments, which greatly resembles the classical period.

Shortly after the Classical period, the Romantic era appeared during the 1820-sass’s. At these times, non-musical developments such as cultural movements strongly expressed emotion, imagination, and individuality. People such as Romantic painters and writer often emphasized the freedom of expression; they often saw political revolution as a reflection of their own struggles for artistic freedom. This had made a huge impact on Romantic music, because the emotional subjectivity turned into a basic quality of Romanticism.

Comparing the musical elements of Classical era and Romantic era, we would notice the many differences, and hence we can identify and recognize the music of both eroded. The first musical element that I will discuss is rhythm. As we can see, the rhythm of the Classical era tends to be less complex and quite repetitive. Classical style usually includes unexpected pauses, syncopation, and frequent changes from long notes to shorter notes, and the change from one pattern of note lengths to another may be either sudden or gradual.

As we can see in the Finale of Mozart Clarinet Quintet, we can see that during each of those variations, the rhythms are not very complex and quite repetitive, for example, the first 3 – 8 bars of the introduction n Mozart Clarinet Quintet show a somewhat consistent rhythm consisted 4 of crotchets each bar, the 2nd variation show a consistent rhythm of 4 sets of triplets between the 2nd violin and viola, the 3rd variation shows a consistent rhythm of 4 sets of semi-quavers in each bar, with the clarinet normally.

Through what I have changed to shorter and shorter, in this case, from 4 crotchets to 4 triplets to 4 semi- quavers. Also, in variations like Mozart clarinet quintet, triplets and syncopation can be found frequently. In contrast, romantic music tends to not emphasize that much on simple and consistent rhythms. There are often changes in the number of beats in a measure, cross-rhythms, syncopation, etc. For example in Mailer’s Symphony no. L in D major “Titan”, consistent notes goes against syncopation, there are accompaniments with skips and staccatos etc. (p. 16)Both Classical and Romantic eras have written musical directions, unlike Renaissance and Baroque which does not have any. Moreover, I have noticed that the musical directions of both pieces have extreme differences. As we see in Mailer’s symphony no. L in D major “titan” 3rd movement, there are many written musical directions: dynamic, emotional, tempo directions. For example, in the first 20 bars, there are already 7 written musical directions, whereas in Mozart clarinet quintet, there are extremely small amounts of written musical directions, only 2 written musical directions in the first 20 bars.

This significantly shows that there are differences in the use of written musical directions in the Classical and Romantic era. Classical and Romantic music has differences in melodies and structures too. In classical music, the structures emphasize more the grace of proportion and balance, moderation and control; polished and elegance in character with expressiveness and armor structure held in perfect balance. Furthermore, the forms do not vary as much as the Romantic era, they had forms like sonatas, symphonies etc.

The melodic phrases are usually balanced and symmetrical made up of two phrases of the same length. For an example, in Mozart Clarinet Quintet, the music is very symmetrical and well balanced, in a variation form. However, in Romantic music, they rather emphasize on the emotional content than trying to sound balanced and symmetrical, and expanded their use of forms and created new forms, like impromptu, ballade, etude, nocturnes etc,. Moreover, the melodies normally have either really long or short phrases, increased in range, but also increased in chromatics.

For example in Mailer’s symphony no. L in D major “Titan”, we can see that except it is in a ABA form, the whole movement was not as symmetrical and well balanced as the Mozart, although it is in a variation form, the melodic phrases have increased in range, are either really long, for example in the first 18 bars, or really short, where the melody can be hardly seen in bar 134-137. Classical and Romantic era are very different in the use of harmonies too. In Classical music, harmonies were formed from the chords.

If the chords in a music composition are all major chords, then the harmonies would create emotions that express bright, happy and positive feelings, in contrast, if the chords are all minor chords, then the harmony would express the emotion which is sad and depressed, negative feelings. However, in Romantic music, harmonies are more complex due to the development of the complex chords. For example, a diminished chord that is usually found in Romantic music would create a harmony that is rarely found in Classical music.

In general, the use of harmonies is very different in both Classical and Romantic music. F dynamics used. In the Classical era, the dynamic range normally used was between up – if. This range was expanded in the Romantic period, ranging from IPPP – buff. This difference can be evidently proven in Mozart Clarinet Quintet, where the range was kept within the range of p – f, a small range of pitch in each part of instruments. However, in Mailer’s symphony no. In D major “titan”, the range of dynamics increased to IPPP – f, with a big range of dynamics in each of the instrumental parts. In general, the range of pitch of Classical and Romantic era varies hen the classical as small range of dynamics, whilst the Romantic as a larger range of dynamics. The range of pitch of the Classical and Romantic era is used very differently too. In the classical era, the range pitch is not as big as the Romania era, as he range of pitch in the Romantic era was expanded, as the composers seek for more extreme high and low sounds.

For example in Finale of Mozart Clarinet Quintet as a Classical song, the range of pitch of the whole song was only DO – CO with little range of pitch in every instrumental part, but the range of pitch in Mailer’s symphony no. In D major, as a Romantic song, is Bal- DO, with a very broad range in every instrumental part. In general, the range of pitch of Classical and Romantic era varies when the classical as small range of pitch, whilst the Romantic as a larger range of pitch.

The tempo of classical era and Romantic Era is used very differently too. In the Classical era, the tempo only changed when there are written musical directions to change the mood, but tempo of Romantic music changed the mood constantly with not only the written musical directions, which is often underlined by Accelerated, Retardation, and subtle variations of pace: but there are many more fluctuations in tempo than there are in Classical music, which they also intensify their emotions by using effect of Rubout.

As we can see in Mozart clarinet quintet, there are only 3 written musical directions: “Allegretto con Variation”, which means a little lively, moderately fast, with variation, “Adagio” which means at ease: slow, and allegro, which means cheerful or brisk; but commonly interpreted as fast, lively, and there are no written musical directions which guide the tempo within the scores. However, in Mailer’s symphony no. N D major, there are not only main musical directions to guide the tempo, like “Frecklier undo gamesmen, none z schlepped”, which means dignified but not too slow, but there are small ones in between the scores which appears constantly, like Credentialed which means holding back tempo, creating Rubout effect and Pico. Riot etc. These two pieces, Mozart clarinet quintet as a Classical music, Mailer’s titan as a Romantic music, clearly shows that there are significant differences in the tempo of the Classical and Romantic era, Classical with a less frequent change of tempo, Romantic with a frequent change of tempo.

The texture of Classical and Romantic music can be contrasted. Classical music is basically homophobic; for example in Mozart Clarinet Quintet, we can see that the texture is basically homophobic, with a few that is polyphonic, and the pieces shifted 3, there is a gradual change from thin texture to thicker texture. In contrast, even though romantic music can be homophobic and polyphonic and most of the time between the two, the texture turns thicker, it has lots of changes in texture, more drastic and frequent, and they use a lot more instruments to exaggerate this thick and emotional content.

As we can see in Mailer’s symphony no. L “Titan”, the texture is pretty thick in general, due to the size of the orchestra which creates density, and during the bars of 134-137, the whole orchestra is used, which creates the intense and climax moment. In general, although both Classical and Romantic music are mainly homophobic, the thickness of the texture is contrasted significantly. Chromatics was also used differently in the Classical and Romantic era. In the classical era, melodic chromatics was used frequently (especially by Mozart) to balance the harmonic plainness.

In its simplest form of chromatic scales, it occurs a lot in unaccented passing notes. Melodic chromatics does not usually affect the harmony; it is mainly used for color-modification of diatonic notes, to add tone color by composers. However, Romantic music generally uses chromatics to form the music’s harmonies and create chords. This helps the composer to expand the emotional contents and express a few different emotions of the musical piece. In general, chromatics was used very differently in the Classical and Romantic era.

Cadenza chords of Classical and Romantic music is similar, but you can say that addenda chords of Romantic music are built on top of the cadenza chords structures of Classical music. In Classical music, they generally have a cadenza chord structure of I – V- l. In Mozart clarinet quintet, the cadenza chords can easily be recognized as chords I – V- l, as we can see in the first 16 bars. In Mailer’s symphony no. L in D major “titan” however, the cadenza consist of only chord I from bar 158 to the end, 1 1 bars all written in chord l.

This type of chord structure is seldom found in Classical music, because Classical music usually ends a piece of music in an authentic dance, appeal cadence, or deceptive cadence. In Romantic music, these cadences are still used, but composers like to end their music in their own unique way, Just like Mailer’s symphony no. 1 in D major. Another difference that I have noticed between Classical and Romantic music is the size of their orchestra. In a Classical orchestra, there are normally only 20-60 players, which involve strings: 1st & 2nd violins, violas, cellos, double basses.

Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Brass: 2 French horns, 2 trumpets. Percussion: 2 timpani. However, towards this end of the Romantic era, the orchestra might have included around 100 musicians. The constant expansion of the orchestra reflected composes changing needs as well as the growing size of concert halls and opera houses, due to technological advances. The brass, woodwind and percussion sections of the orchestra took on a more active role, calling for trombones, tubas, and more horns and trumpets.

The woodwind took on new tone colors such as contrabass, bass clarinet, English horn and piccolo. Orchestral sounds became more brilliant and sensuously appealing through increase uses of cymbals the triangle and the harp. Imposers express their emotion and creating emotional intensity. Composers from the Classical Period tend to focus more on the structure of music, creating music that is structural and compact in form, and captures our attention by the beauty and structure of the music, which usually Just expresses one emotion.

However, composers from the Romantic Period focused more on depicting their emotions in their music, emphasizing on expression rather then structure, expressing several different emotions. When we compare Mozart Clarinet Quintet to Mailer’s Symphony No. In D major “Titan”, Mozart Clarinet Quintet tends to be more focused on perfecting the harmony between the different melodies and also the structure and forms, while Mailer’s Titan emphasized much more on the emotional content.

In short, Classical music tends emphasize on the beauty of balanced structures, expressing one emotion, while Romantic music tends to express more emotional contents, expressing several different emotions. In general, the music of Classical and Romantic era are very different in many ways, in all aspects of the elements, dynamics, pitch, tempo, rhythm, texture, meter, analogy, structure, melody, harmony, instrument, and especially how they express their emotional contents.

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Comparing Classical and Romantic Music Essay. (2017, Nov 23). Retrieved from https://artscolumbia.org/comparing-classical-and-romantic-music-30085/

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• Comparison between Classical and Romantic Periods in Western Music

Comparison between Classical and Romantic Periods in Western Music - Essay Example

• Subject: Music
• Type: Essay
• Level: Masters
• Pages: 2 (500 words)
• Downloads: 17
• Author: zcruickshank

Extract of sample "Comparison between Classical and Romantic Periods in Western Music"

Comparison between classical and romantic periods in Western musicClassical western music is the music in the European region between 1720 and 1830. The music had its origin in church music, western art and concert music. Romantic western music refers to the music that evolved after the classical western music. The music carried deep expressions of emotion mainly romance.One of the major differences between the two periods of music is that, during the classical period, music was more restrained while in the romantic period music became more exuberant.

During the classic period, apart from the energy used in playing the instruments, little energy was used during the performance. Movement was minimal as people performed and danced to the music. In contrast, during the romantic music period, both the performers and the dancers to the music became more physically involved in the music. More energy was used in playing the musical instruments and to dance to the music.Another major difference between the two periods is that, during the romantic period, music stressed strong emotions as opposed to the music during the classic period.

Music during the classical period did not portray deep emotions.About harmony, minor tones provided the music framework during the classical music period. Music composers wanted to have more control over their songs. The figured bass was not used during the classical music period. Amateur musicians were incapable of improvising from the bass. On the other hand, harmony during the romantic music period was expanded. Color and chromatic harmonies were added to the music.The performing mediums used during the classical music period were not as sophisticated as the accompaniments used during the romantic music period.

They were, for example, made of wood and strings and were easy to operate as accompaniments to the music. During the romantic music period, accompaniments got more sophisticated. They included pianos and other digital equipment which were not easy to operate.About form, classical music consisted of contrasting movements. The contrast was evident in tempo and character. The forms included opera, concerto and symphony. In the romantic musical period, a few forms have been invented. They include symphonies and sonatas.

During the classical period, composers were used by the ruling class for entertainment. They were paid handsomely by the aristocrats. They were charged with the responsibility of composing and maintaining musical libraries. During the romantic period, they used music to express their emotions. Some of the emotions they expressed included affection. Inspiration was drawn from history, love and the supernatural. About style, during the classical period music was homophonic, elaborately ornamented and light in texture.

In the romantic period, music became more heavily textured.Joseph Haydn is one of the major composers during the classical music period. He was born in Australia and is referred to as the father of the symphony. He pioneered the development of the string quartet and symphony. His biggest work is the London Symphony. Another major composer during the classic period is Wolfgang Amadeus. He is known for the operas like the magic flute and Don Giovanni. Christoph Willibald was a German composer during the classical era.

Operatic reforms represent a big portion of his works.Ludwig Beethoven was one of the major composers during the romantic period. Symphony number nine of 1824 is a representation of his work. Richard Wagner is another composer in the romantic period. He pioneered extreme chromatics in music. Franz Schubert was another great composer in the romantic period. His songs are masterpieces of dramatic beauty.Works cited:Burkholder, J P, and Claude V. Palisca. Norton Anthology of Western Music. New York: W.W. Norton, 2006. Print.Kirby, F E.

Music in the Classic Period: An Anthology with Commentary. New York [N.Y.: Schirmer Books, 1979. Print.Rosen, Charles. The Romantic Generation. Cambridge, Mass: Harvard University Press, 1995. Print.Wright, Craig M, and Bryan R. Simms. Music in Western Civilization. Belmont, CA: Thomson Schirmer, 2006. Print.Raeburn, Michael, and Alan Kendall. Heritage of Music. Oxford: Oxford University Press, 1989. Print.Schwartz, Judith L, and William Brown. Self-study Module for History of Music in the Classic Period.

Evanston, Ill.: School of Music, Graduate Division, Northwestern University, 1981. Print.Weiss, Piero, and Richard Taruskin. Music in the Western World: A History in Documents. Australia: Thomson/Schirmer, 2008. Internet resource.

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