Composer
A Comparison of Renaissance, Baroque, Classical, and Romantic Styles
Renaissance (1450-1600) Baroque (1600-1750)
Classical (1750-1825)
Du Fay, Ockeghem,
Monteverdi (late works),
Haydn, Mozart,
Josquin, Palestrina,
Purcell Vivaldi, Handel,
Beethoven, Schubert
Monteverdi (early works), Bach, Jacquet de la
Hildegard of Bingen
Guerre
(woman)
Melody
NA
Major and minor tonality;
Continuous melody with
wide leaps, chromatic
tones for emotional effect
Rhythm
NA
Harmony
Modal Harmony
Texture
Imitative polyphony
Instrumental Genres
Derived from vocal
forms; dance music
(instruments not
Single rhythm
predominant; steady,
energetic pulse; freer in
vocal music
Chromatic harmony for
expressive effect; majorminor system established
with brief excursions to
other keys
New monodic or solo
style; polyphony in late
Baroque; polyphonic
texture; linear-horizontal
dimension
Sonata, concerto grosso,
sinfonia, suite
(instruments specified);
Symmetrical melody and
balanced phrases and
cadences; tuneful;
diatonic, with narrow
leaps
Clear rhythmically, with
regularly recurring
accents; dance rhythms
favored
Diatonic harmony
favored; tonic-dominant
relationships expanded,
became basis for largescale forms
Homophonic textures;
horizontal perspective
Symphony, solo concerto,
solo sonata, string quartet
Romantic (1820-1900)
Beethoven, Schubert,
Fanny Mendelssohn,
Felix Mendelssohn, Clara
Schumann, Robert
Schumann, Chopin, Liszt,
Berlioz, Brahms,
Tchaikovsky, Verdi,
Wagner
Expansive, singing
melodies; wide ranging;
more varied, with
chromatic inflections
Rhythmic diversity and
elasticity; tempo rubato
(flexible tempo)
Increasing chromaticism;
expanded concepts of
tonality
Homophony, turning to
increased polyphony in
later years of era
Same large genres, adding
one-movement
symphonic poem; solo
Vocal genres
specified)
Renaissance cont.
Madrigal
prelude, passacaglia
Baroque cont.
Classical cont.
Sacred (Oratorio,
Opera, Mass, solo song
Lutheran cantata), Secular
(Opera, cantata), Mass
Binary form predominant Ternary form
predominant; aristocratic
audience
Form
NA
Audience
Church and court
Dynamics
NA
Timbre
NA
Performing forces
NA
String orchestra, with
added woodwinds; organ
and harpsichord in use
String orchestra with
woodwinds and some
brass; 30-to-40-member
orchestra; rise of piano to
prominence
Virtuosity
NA
NA
Expression
NA
Improvisation largely
limited to cadenzas in
concertos
Emotional restraint and
balance
Public theater
Secular music
predominant; aristocratic
audience
Terraced (contrasting)
Continuously changing
dynamics
dynamics through cres.
and dim.
Continuous tone color
Changing tone colors
throughout one movement between sections of
works
piano works
Romantic cont.
Same vocal forms, adding
works for solo voice and
piano/orchestra
Expansion of forms and
interest in continuous as
well as miniature
programmatic forms
Secular music
predominant; middleclass audience
Widely ranging dynamics
for expressive purposes
Continual change and
blend of tone colors;
experiments with new
instruments and unusual
range
Introduction of new
instruments (tuba, English
horn, saxophone); much
larger orchestras; piano
predominant as solo
instrument
Increased virtuosity;
composers specified more
in scores
Emotions, mood,
atmosphere emphasized;
interest in the bizarre and
Medium
Renaissance cont.
A cappella vocal music
Sacred vocal genres
Mass and motet dominant
Secular vocal genres
Use of preexistent works
Chanson, madrigal
Some works built on
cantus firmus
Baroque cont.
Concerted music (voices
and instruments)
Oratorio, Lutheran
cantata
Opera, cantata
Works are freely
composed
Classical cont.
macabre
Romantic cont.
1. Exposition (Statement)
Slow Introduction (optional)
First Theme (or theme group) and its
expansion in tonic
Bridge—modulates to a contrasting
key
Second theme (or theme group) and its
expansion in contrasting key
Closing, cadence in contrasting key
(Exposition repeated)
↓
Summary of Sonata-Allegro Form
2. Development
↓
Builds up tension against the return to
tonic by:
(a) frequent modulation
To foreign keys, and
(b) fragmentation
And manipulation of themes and
motives
Transition back to tonic
↓
3. Recapitulation (Restatement)
↓
First theme (or theme group) and its
expansion in tonic
Bridge (rarely modulates)
Second theme (or theme group) and its
expansion transposed to tonic
Closing, cadence in tonic
Coda; cadence in tonic
Movements and order of the Mass
Ordinary (fixed portion)
Proper (variable portion)
1. Introit
2. Kyrie
3. Gloria
4. Collect *
5. Epistle *
6. Gradual
7. Alleluia (or Tract)
8. Gospel *
9. Credo
10. Offertory
11. Secret *
12. Preface *
13. Sanctus
14. Canon *
15. Agnus Dei
16. Communion
17. Post-Communion
(18. Ite, missa est)
*Recited sections
Characteristics of Musical Impressionism
1. Whole-tone scale (beginning on C)
2. Example from Debussy’s Pelleas and Melisande,
illustrating use of whole-tone scales.
3. Parallel movement of chords (octaves and open fifths)
in example of 9th-century organum
4. Parallel movement of chords (fifths and octaves) from
Debussy’s Sunken Cathedral.
5. Structure of a ninth chord built on C
6. Use of ninth chords in Debussy’s Pelleas and
Melisande.
Era
Renaissance
Baroque
Classical
Romantic
Post-Romantic
Impressionist
Post-Impressionist
Nationalist
Twentieth Century
Blues and Jazz
Twelve Tone
Bold = Era
Non-Bold = sub-category
Composers
Du Fay, Ockeghem,
Josquin, Palestrina,
Monteverdi (early works)
Monteverdi (late works),
Purcell, Vivaldi, Handel,
Bach, Jacquet de la
Guerre, Giovanni
Gabrielli, Corelli
Haydn, Mozart,
Beethoven, Schubert
Beethoven, Schubert,
Fanny Mendelssohn, Felix
Mendelssohn, Clara
Schumann, Robert
Schumann, Chopin, Liszt,
Berlioz, Brahms,
Tchaikovsky, Verdi,
Wagner
Mahler, Strauss, Brahms,
Rachmoninov, Berger
Debussy, Ravel
Ravel, Debussy
Prokofiev, Bartok,
Borodin, Musorsky,
Grieg, Ravel, Debussy,
Shostakovich, Sibelius,
Elgar, Copland
Stravinsky, Aaron
Copland, Shostakovich
Duke Elington,
Schoenberg, Berg,
Webern