| Classical music is a term with three | | | | Ancient music - the music generally |
| distinct meanings: | | | | before the year 476, the approximate |
| The European tradition of music which is | | | | time of the fall of the Roman Empire. |
| associated with high culture, as | | | | Most of the extant music from this |
| distinct from popular or folk forms | | | | period is from ancient Greece. |
| (including works in this tradition in | | | | Medieval, generally before 1450. |
| non-European countries). | | | | Monophonic chant, also called plainsong |
| That tradition as well as similar | | | | or Gregorian Chant, was the dominant |
| non-European traditions. | | | | form until about 1100. Polyphonic |
| A particular stage in the development of | | | | (multivoiced) music developed from |
| the European art music tradition, | | | | monophonic chant throughout the late |
| centered in the late 18th century. | | | | Middle Ages and into the Renaissance. |
| This article discusses classical music | | | | Renaissance, about 1450-1600, |
| in the first sense. For the second, see | | | | characterized by greater use of |
| List of classical music styles. For the | | | | instrumentation, multiple melodic lines |
| third, see Classical period (music). | | | | and by the use of the first bass |
| Classical music is a broad, somewhat | | | | instruments. |
| imprecise term, referring to music | | | | Baroque, about 1600-1750, characterized |
| produced in, or rooted in the traditions | | | | by the use of complex tonal, rather than |
| of, Western art, ecclesiastical and | | | | modal, counterpoint, and growing |
| concert music, encompassing a broad | | | | popularity of keyboard music |
| period from roughly 1000 to the present | | | | (harpsichord and pipe organ). |
| day. The central norms of this tradition | | | | Classical, about 1750-1820, an important |
| developed throughout this period but | | | | era which established many of the norms |
| reached their heights of complexity and | | | | of composition, presentation and style. |
| development in the period between 1550 | | | | Also, the classical era is marked by the |
| and 1900: what is known as the common | | | | disappearance of the harpsichord and the |
| practice period. | | | | clavichord in favour of the piano, which |
| This music evokes classical traditions, | | | | from then on would become the |
| focuses on formal styles, invites | | | | predominant instrument for keyboard |
| technical and detailed deconstruction | | | | performance and composition. |
| and criticism, and demands focused | | | | Romantic, 1820-1901 a period which |
| attention from the listener. It is | | | | codified practice, expanded the role of |
| written down using a formal notation and | | | | music in cultural life and created |
| a work of classical music is usually | | | | institutions for the teaching, |
| defined by the notated version, rather | | | | performance and preservation of works of |
| than a particular performance of it. | | | | music. Characterized by increased |
| This music is associated with, and often | | | | attention to melody and rhythm. |
| compared to, fine art and high culture, | | | | Modern, 1905-1985 a period which |
| sometimes leading to accusations of | | | | represented a crisis in the values of |
| haughtiness and exclusivity being | | | | classical music and its role within |
| leveled at its enthusiasts. | | | | intellectual life, and the extension of |
| Nevertheless, many "classical" pieces | | | | theory and technique. Some theorists, |
| were the popular music of their time, | | | | such as Arnold Schoenberg in his essay |
| and have remained popular to this day. | | | | "Brahms the Progressive," insist that |
| The public taste for and appreciation of | | | | Modernism represents a logical |
| formal music of this type is often | | | | progression from 19th century trends in |
| described as having waned through the | | | | composition; others hold the opposing |
| later part of the 20th century and into | | | | point of view, that Modernism represents |
| the present millennium, particularly in | | | | the rejection or negation of the method |
| the USA and UK, although it continues to | | | | of Classical composition. |
| thrive elsewhere in the world. | | | | 20th century, usually used to describe |
| Certainly, this period has seen | | | | the wide variety of post-Romantic styles |
| classical music falling well behind the | | | | composed through the year 1999, which |
| immense commercial success of popular | | | | includes late Romantic, Modern and |
| music. | | | | Post-Modern styles of composition. |
| The term classical music did not appear | | | | The term contemporary music is sometimes |
| until the early 19th century, in an | | | | used to describe music composed in the |
| attempt to "canonize" the period from | | | | late 20th century through present day. |
| Bach to Beethoven as an era in music | | | | The prefix neo is usually used to |
| parallel to the golden age of sculpture, | | | | describe a 20th Century or Contemporary |
| architecture and art of classical | | | | composition written in the style of an |
| antiquity (from which no music has | | | | earlier period, such as classical, |
| directly survived). The earliest | | | | romantic, or modern. So for example, |
| reference to "classical music" recorded | | | | Prokofiev's Classical Symphony is |
| by the Oxford English Dictionary is from | | | | considered a Neo-Classical composition. |
| about 1836. Since that time the term has | | | | The dates are generalizations, since the |
| come in common parlance to mean the | | | | periods overlapped. Some authorities |
| opposite of popular music. | | | | subdivide the periods further by date or |
| Timeline | | | | style. However, it should be noted that |
| According to one school of thought, | | | | these categories are to an extent |
| musical works are best understood in the | | | | arbitrary; the use of counterpoint and |
| context of their place in musical | | | | fugue, which is considered |
| history; for adherents to this approach, | | | | characteristic of the Baroque era, was |
| this is essential to full enjoyment of | | | | continued by Mozart, who is generally |
| these works. There is a widely accepted | | | | classified as typical of the Classical |
| system of dividing the history of | | | | period, by Beethoven who is often |
| classical music composition into | | | | described as straddling the Classical |
| stylistic periods. According to this | | | | and Romantic periods, and Brahms, who is |
| system, the major time divisions are: | | | | often classified as Romantic. |