Music Theory ~ Time Periods

Front 1

Baroque Dates

Back 1

1600-1750

Front 2

Classical Dates

Back 2

1750-1820

Front 3

Romantic Dates

Back 3

1820-1900

Front 4

Modern Dates

Back 4

1900 Onwards

Front 5

Baroque Rhythm

Back 5

continuous driving rhythms (in fast pieces)

Front 6

Baroque Dynamics

Back 6

Terraced dynamics (created mainly through changes in texture)

Front 7

Baroque Textures

Back 7

1. Often polyphonic (contrapuntal), though other textures are used.

2. Greater emphasis on treble and bass (especially with basso continuo).

Front 8

Baroque Mood

Back 8

Each movement keeps the same mood or "affection"

Front 9

Baroque instruments

Back 9

1. Small orchestra

2. Basso continuo (e.g. harpsichord and cello)

Front 10

Classical Dynamics

Back 10

Gradual changes (cresc. and dim.) as well as clear contrasts

Front 11

Classical Textures

Back 11

Homophonic textures (chordal or melody and accompaniment)

Front 12

Classical Harmonies

Back 12

Mainly simple harmonies but melodies may include chromatic decoration.

Front 13

Classical Cadences

Back 13

Cadences at regular intervals create clear-cut phrases

Front 14

Classical Melodies

Back 14

Pairs of balanced phrases in which the second can seem like an answer to the first

Front 15

Classical Moods

Back 15

Contrasts of mood within single piece or movement (sonata form used 2 contrasting themes).

Front 16

Classical Keyboard

Back 16

Piano replaces harpsichord as the main keyboard instrument

Front 17

Classical Orchestra

Back 17

Flute, clarinets and horns regularly appear in medium-sized orchestras

Front 18

Romantic Moods

Back 18

Often tells a story or paints a picture and can be intensely emotional.

Front 19

Romantic Themes

Back 19

dreams, love and nature

Front 20

Romantic Melodies

Back 20

memorable, expressive and singable (lyrical)

Front 21

Romantic Extremes

Back 21

Longer pieces, often very difficult (virtuosic), with a wider range of dynamics

Front 22

Romantic Textures

Back 22

Homophonic textures predominante, often with denser accompaniments.

Front 23

Romantic Harmony

Back 23

Harmony is often complex, with chromatic chords (e.g. diminished 7ths) and expressive dissonances.

Front 24

Romantic Tonality

Back 24

Expressive modulations to distant keys are common.

Front 25

Romantic Scores

Back 25

Most performers added very detailed performance directions to the score.

Front 26

Romantic Orchestra

Back 26

Grows to its largest size of about 80 players.

Front 27

Modern Styles

Back 27

Greater diversity of styles (no one style dominates)

Front 28

Modern Harmony

Back 28

Chords used for their colour rather than to define keys (so "non-functional harmony").

Front 29

Modern Tonality

Back 29

Some composers rejected tonality, as music had become so dissonant (clashy).

Front 30

Modern Rhythm

Back 30

Complex rhythms and unusual metres common.

Front 31

Modern Melodies

Back 31

Melodies are often angular

Front 32

Modern Genres

Back 32

Some traditionalists continued to develop the symphony, concerto and string quartet.

Front 33

Modern Influences

Back 33

Nationalism is a big influence on modern music, with many composers borrowing from their own folk music. Others looked to World music and Jazz.

Front 34

Modern Trends

Back 34

1. Experimental

2. More extended instrument techniques

3. Use of chance (e.g. rolling dice!)

4. Electronic sounds

5. Repetitive motifs (e.g. minimalism)

Front 35

Baroque Composers

Back 35

Bach, Handel, Vivaldi, Purcell

Front 36

Classical Composers

Back 36

Mozart, Haydn, Beethoven

Front 37

Romantic Composers

Back 37

Tchaikovsky, Wagner and Chopin