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Representative genres: opera, fugue, dance suites, cantata, chorale, allemande, courante, sarabande, gigue, gavotte, minuet, sonatas, etc. Characteristics:
Vigorous rhythm (hints of virtuosity), free-flowing from one key to another, lyricism in slow movements, use of the Basso Continuo, dissonances ornamentation, suite form, homophonic with melody and accompaniment, but also featuring prominent polyphonic and imitative moments between instruments, triadic harmony, terraced dynamics -
J.S. Bach was born
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Representative genres: symphony, opera, quartet, sonata, concerto,
Characteristics: Periodicity: Musical ideas articulated in distinct phrases, more of a rhetorical style in phrase structure (question/answer), singable melodies, occasional triumphant melodic ideas, less use of ornamentation, lower harmonic change, modulations less frequent and adventurous, tonic and dominant chords prevail, wind instruments, fortepiano, homophonic, greater use of dynamics -
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York, Wesley. “Music History Timeline.” Timetoast, Timetoast, 2020, www.timetoast.com/timelines/music-history-timeline-f24b8d59-ccbc-4986-a6e8-87d4edde8ef4.
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Oxford Reference. “18th Century.” Oxford Reference, HistoryWorld, 2012, www.oxfordreference.com/view/10.1093/acref/9780191735615.timeline.0001.
Rice, John A. “The Operatic Culture at the Court of Emperor Leopold II and Its Connection to Mozart's La Clemenza Di Tito - John A. Rice, History of Music.” Google Sites, Google Sites, 27 Aug. 2013, sites.google.com/site/johnaricecv/the-operatic-culture-at-the-court-of-emperor-leopold-ii-and-its-connection-to-mozart-s-la-clemenza-di-tito.