SIX MUSICAL STYLE PERIODS:

1) Medieval Period (450-1450): An era dominated by Catholic sacred music,

which began as simple chant but grew in complexity in the latter part of this
period (as evident in the experimentation in the rhythm and harmony).
SOLEMN, SACRED, RELIGIOUS, EARLY EXPERIMENTATIONS IN
HARMONY, ORGANUM, OTHERWORLDLY, MOTET 1 0F

2) Renaissance Period (1450-1600): A more personal style emerged in this era;

there is a greater focus on Humanism and a rebirth of learning and exploration;
regarded as the “golden age of vocal music” among other fields in art. EARLY
EXPERIMENTATIONS IN INSTRUMENTS, BUOYANT, LIVELY,
CELEBRATORY, MORE MOTET 2, MADRIGAL 1F

3) Baroque Period (1600-1750): This era is represented by extreme

ornamentation; art is deliberate and elaborate. This era saw the rise of
instrumental music, the invention of the violin and the creation of the first
orchestras. INSTRUMENTAL, DRAMATIC, TENSE, GRAND,
EXAGGERATED, CLEAR 3, POMPOUS, ORCHESTRAL 4
2F 3F

4) Classical Period (1750-1820): This era’s compositions focused on unity,

balance, and clarity. The new expressive and dramatic approaches to
composition and performance became the standards that all “Classical” music
are judged by. CRISP, UNCLUTTERED, SIMPLISTIC, AFFECTIVE,
ORCHESTRAL 5, SOOTHING, CALMING
4F

5) Romantic Period (1820-1900): This era saw an explosion of flamboyance,

nationalism, and concerts. Orchestra, theater, and solo music grew to
spectacular heights of personal expression. SELF-EXPRESSIVE 6, STRANGE, 5F

SURPRISING, AUTIBIOGRAPHICAL
6) 20th Century Period (1900-onwards): This era has been and is impacted by
daring experimentation 7 and advances in musical technology 8. Appears to
6F 7F

deviate from (or combine) previously existing musical styles 9. TOO- 8F

MUCHNESS, TOO-LITTLENESS, THIS AND THAT, INNOVATION

1
An overlapping of two or more parts in a composition; listen to Adam de la Halle’s motet, “De Madame Vient.”
2
Motet in the Renaissance is more harmonious; listen to the works of Thomas Weelkes “O Care,” and “Alleluia.”
This style became a characteristic of most madrigals.
3
In the sense that unlike the obscurantist Renaissance, the songs communicate just one melody.
4
Non-standard, featuring newly-developed violin family.
5
Balanced with strings and woodwinds.
6
Expressiveness in music reaches its apex in the romantic period.
7
John Cage’s 4’33” is an experiment, for example, on the silence in music (music as created by sounds and non-
sounds).
8
Bricolage, a tinkering; anything can be used to make music.
9
Polystylism (i.e. neoclassicism), “quite a style but not really.”
Notable Works and Composers:

1.) Medieval: Victimae Paschali Laudes; Messe du Jour de Noël, Léonin;

Viderunt Omnes, Pérotin; De Madame Vient, Adam de la Halle; La Masse
de Notre Dame, Guillame de Machaut 10. 9F

2.) Renaissance: The Dance of the Terpsichore, Michael Praetorius; La Spagna,

Josquin Desprez; Kyrie, Giovanni Pierluigi da Palestrina; Alleluia and O
Care, Thomas Weelkes.
3.) Baroque: Four Seasons, Antonio Lucio Vivaldi; Johann Sebastian Bach;
George Frideric Handel; Giuseppe Tartini; Claudio Monteverdi.
4.) Classical: Johann Christian Bach; Johann Stamitz; Luigi Boccherini;
Christoph Willibald von Gluck; Franz Joseph Haydn; Franz Schubert;
Wolfgang Amadeus Mozart; Ludwig van Beethoven.
5.) Romantic: Gioacchino Rossini; Gaetano Donizetti; Carl Maria von Weber;
Felix Mendelssohn; Robert Schumann; Franz Liszt; Frederic Chopin.

10
Notable for his complete Ordinary Mass compositions.