SELF-

LEARNI
NGMATERI
ALSI
NMUSI
C9
WROKSHEETI
NGr ade8-
MUSI
C(MU9RO-
II
Ib-
h-3)
Q2-
Week2Obj
ect
ive:

Expl
ainst
heperf
ormancepract
ice(sett
ing,
composit
ion,rol
eof
composers/
per
former
s,andaudience)duri
ngt
heclassicalper
iod.

[Link]
for
mancedur
ingt
heCl
assi
cal
Per
iod.

[Link]
act
eri
sti
cFeat
uresofCl
assi
cal
Per
iod

NameofLeader
:__
___
___
___
___
___
___
___
___
___
__ Dat
e:__
_____
_____
_____
_____
___
NameofSchool
:__
___
___
___
___
___
___
___
___
___
__ Di
str
ict
:__
_____
_____
_____
_____
_
WhatDoYouKnow?

TheCl
assi
calper
iodwasaner
aofclassi
calmusi
cbet
weenr
oughl
y1730
and1820.[
1]
Wol
fgangAmadeusMozar
t TheCl assical per iodf allsbetweent he
Baroqueandt heRomant i
cper i
ods.
Classi cal musi chasal ighter,clear er
texturet hanBar oquemusi candi sl ess
compl [Link] nlyhomophoni c, usinga
clearmel odyl ineov erasubor dinat e
chor dal accompani ment ,[
2]but
count erpoi ntwasbynomeansf orgot t
en,
especi allylateri nt heper i
[Link] somakes
useofst yl
egal antwhi chemphasi zedl i
ght
elegancei npl aceoft heBar oque' s
dignifiedser i
ousnessandi mpr essi v e
grandeur .Var i
et yandcont rastwi thina
piecebecamemor epr onouncedt han
Thehar psichordwasr epl
acedast hemainkbe
eyf
o
bor
aeran
didt
n h
steme
r
u orcnh
tes
bt
yra
t i
n
hec
p r
i
ae
nasedi
o( or nsi
ze,
for
tepiano).Unliketheharpsi
chord,whichpl
ucksst ri
ngswi t hqui l
ls, pi
anosst rikethe
str
ingswi t
hl eather-
cover
edhammer swhenthekey sar epr essed, whi chenabl est he
performert oplaylouderorsoft
er(hencetheoriginal name" fortepiano,"lit
eral l
y" l
oud
soft")andplaywi thmoreexpressi
on; i
ncontr
ast ,thef orcewi thwhi chaper f ormerpl ay
s
thehar psi
chordkey sdoesnotchanget hesound.

I
nst
rument
almusi
cwasconsi
der
edi
mpor
tantbyCl
assi
cal
per
iodcomposer
s.

Themai nkindsofi nstr

umental musi
cwer ethesonata,t
ri
o, str
ingquartet,qui
ntet,
symphony( perf
ormedbyanor chestr
a)andthesoloconcer t
o, whichfeaturedav i
rt
uoso
soloper f
ormerpl ay
ingasol owor kf
orviol
in,pi
ano,fl
ute,
oranot herinstr
ument ,
accompani edbyanor chest
[Link],suchassongsf orasingerandpi ano
(notablythewor kofSchubert),chor
alworks,andopera(ast ageddramat icworkfor
singersandor chestra)werealsoimport
antduringthi
speriod.
 Rol
eofComposer
sint
heBar
oqueandCl
assi
calPer
iods

Duringt heearlyBar oqueper i

od, composerswer etreatedli
keser
vant sbythe
ari
st ocratsandwer eexpect edt ocatertotheirmusi cal whi
ms,oft
enatamoment ’s
[Link] cdirectorswerepai dhandsomel y, butitcamewi t
hapr i
ce—ahuge
responsi bi
li
tythatincludednotonl ycomposingmusi cbutalsomaintainingt
he
i
nstr ument sandmusi cli
brary,ov er
seei
ngper formancesanddi sci
pliningmusici
ans.
Cour tmusi ci
ansear nedmor ethanchur chmusi cians,somanyoft hem hadtobe
creat i
vetoearnal i
ving.

Musicwasast apleinmostf uncti

onsbut ,atf i
rst,
itwasonl ymeantf ortheupperclass.
Beforelong,though,event hegeneral publ
icwasabl et oappreci
atemusi cforms(ex.
opera)thatdevelopeddur i
ngt hisperi
[Link] cebecamet hecent erofmusicalacti
vity
,
andsoonapubl icoperahousewasbui l
tther [Link] .Mark’sBasil
icainVenice
becameani mpor t
antvenuef ormusi calexper [Link] mportantrolein
Baroquesociety ;
itservedasamusi calexpressi onforbril
l
iantcomposer s,asourceof
entert
ainmentf orari
stocrats,awayofl if
ef ormusi ciansandat empor aryescapefrom
theroutinesofdailyli
feforthegener alpublic.

Musi caltextureduri
ngt heBaroqueperiodwasal sopolyphonicandhomophoni c.
Composer susedmel odicpatt
ernstoevokecertainmoods( affecti
ons)
.Theuseof
wor d-pai
nt i
[Link] t
hmicandmel odi
cpat ter
nsar erepeatedt
hroughoutthe
composi [Link] t
ionofinst
rumentsandt hedev el
opmentofcer tai
nmusical
techniques( [Link] i
nuo),musicdur
ingtheBar oqueper i
odbecamemor e
i
nt r
[Link] sdur i
ngt hi
speri
odwer emor eopent oexperimentat
ion(ex.
cont
rastofsound—l
oudv
[Link]
t)andi
mpr
ovi
sat
ion.

Majorandmi norscalesandchor dswereuseddur i

ngthisti
[Link]
unit
yofmoodt hr
oughoutt hecomposi t
[Link] isal
somor econst
ant,witht
he
rhyt
hmicandmel odicpatternstendtober epeated,al
thoughbeatsaremore
pronouncedandt her
eareal sopitchchangeswi thi
nacomposi t
[Link]
hedy namics
tendtostayt
hesamef ormostoft hepiece,butsometimesther
ei sal
soalt
ernati
onof
dynamics.

TheCl assical periodi sknownast he" ageofenl ight enment "asthepowershi ftedf rom
thear i
stocracyandt hechur cht ot hemi ddl [Link] ingt hisperiod,theappr eci ati
on
ofmusi cwasnol ongerl i
mi tedt ot her i
chandpower [Link] ongi ngt ot hemi ddle
classbecamepat ronsofmusi caswel l
.Composer swr otemusi ctomeett heneedsofa
mor edi ver
seaudi [Link] esult, musi cf ormsdur i
ngt hisper i
odwer esimpl erand
l
essi [Link] egr ewdi si
nt erestedwi tht hemesofanci entmy thsandi nstead
favoredt hemest heycoul drelatet [Link] hel i
steni ngpubl i
cgr ewinnumber , sodi dthe
demandsf ormusi cl essons, instrument s, andpr intedmusi [Link] eno
l
ongerl imitedt othear i
st ocrats;ev enchi ldrenofmi ddle-classpar entssoughtt hesame
privi
legesf ortheirchi l
[Link] ennabecamet hecent erofmusi cdur i
ngt hist i
me.
Composer swer ebusycr eatingmusi cforpr i
vateconcer tsandout doorent ertainment
thatwer ev erymuchi [Link] scat erednotonl ytotheneedsoft he
l
isteningpubl icbutf ort hosei nt hemi ddlecl asswhowant edt obecomemusi ci ansas
wel l
.Thus, composer swr otepi ecest hatwer eeasyt opl [Link], piecesl ike
diverti
ment oandser enadeswer epopul arf orout doorconcer t
[Link] ddlecl assal so
organizedpubl i
cconcer tsdur ingt hisper iodbecausepal aceconcer tswer eof flimitsto
[Link] hemeswi thinamov ementofaCl assical composi ti
onhav emor econt rastof
mood, andi tcanchangeei thergr adual l
yorsuddenl [Link] hythm ismor eflexibl e,and
therear eatt i
messuddenpausesandchangesi nbeat [Link] cismor emel odicand
oftenhomophoni [Link] ndy nami csi sgradual .Thepi anobecameapopul ar
i
nst r
umentdur i
ngt hisper i
od,andcomposer sshowcasedt heinstrument s’ capabi l
it
ies.
Thisper iodalsosi gnal edt heendoft hebassocont inuo.I nstrument alcomposi tions
usual l
yhad4mov ement s,andeachmov ementmayconsi stof1t o4t hemes.
 10Cl
assi
calMusi
cComposer
stoKnow
Mostoft hebest -knowncomposer sofclassi
cal musicwor keddur i
ngthelast600y ears
i
nt heWest erntraditi
[Link] f
feredinstyl
e,skill
,i
nnovation,andpopulari
ty,and
nothi
ngi ncit
esmor eheat eddebateamongcl assicalmusicschol ar
sandf anst han
determiningwhichoft hesecomposer sarethemostessent ial
.Thethr
eecomposer s
thatconsistent
lyappeari nt het
opspot sareBeet hoven,Bach,andMozar [Link]
fansvaryont her est,butthoseli
stedbelowar eof t
enregardedassomeoft hemost
signi
fi
cant .

[Link]
gvanBeet
hov
en(
1770–1827)

TheGer mancomposerandpi anistLudwigvanBeet hov eniswidelyregardedast he

greatestcomposerwhoev [Link] heCl assicalt
radit
ionsofJoseph
Hay dn,oneofhi steachers,andWol fgangAmadeusMozar tandexperimentedwi th
personalexpr essi
on, acharacteri
sti
cthatinfl
uencedt heRomant i
ccomposer swho
succeededhi [Link] slif
eandcar eerweremar kedbypr ogressivedeafness,yetthe
maladydi dnotpr eventhimf rom composingsomeofhi smosti mpor t
antwor ksduring
thelast10y earsofhi sli
fewhenhewasnear lyunablet [Link]
sonata,symphony ,concert
o,andquar tet
,Beethoven’snot ableworksincludeSy mphony
No.9i nDMi nor,Op.125,Sy mphonyNo.5i nCMi nor,Op.67, Moonl i
ghtSonat a,
andFür
Eli
se.

[Link]
ianBach(
1685–1750)

JohannSebast ianBachwasaGer mancomposerandor ganistoft heBaroqueper iod.

Hiscontempor ari
esadmi redhimf orhi st al
entasamusicianbutt houghthis
compositi
onswer eold-f
[Link] ediscover
yofhi
swor ki ntheear l
y19thcent uryl
ed
totheso-call
edBachr evi
val
,inwhi chhecamet obeseenasoneoft hegreatest
composer sofal l
[Link] -
cel ebratedcompositi
onsi ncl
udeBr andenbur g
Concert
os, TheWel l-
Temper edClav ier,BWV846–893, Sui
t esforUnaccompani edCell
o,
BWV1007–1012, Orchestr
alSuites, BWV1066–1069, andMassi nBMi nor,BWV232.
[Link]
fgangAmadeusMozar
t(1756–91)

AnAust riancomposeroft heCl assi

cal per
iod,WolfgangAmadeusMozar ti
swidely
recognizedasoneoft hegr eatestcomposer sofWest [Link]
y
composert owri
teandexcel i
nallofthemusi calgenresofhi
st i
[Link]
hadtheabi li
tyt
oplaymusi cataget hreeandtowr itemusi
catagef i
ve,Mozar
tbegan
hiscareerasachi l
dprodigy .Notablecomposi t
ionsincl
udeTheMar r
iageofFi
garo,
Elvi
raMadi gan,andCl
arinetQui ntetinAMaj or,K581.

[Link]
ahms(
1833–97)

JohannesBrahmswasaGer mancomposerandpi ani

stoftheRomant i
cperiod,buthe
wasmor eadi sci
pleoftheClassi
calt
raditi
[Link] ot
einmanygenr es,i
ncluding
symphonies,concerti
,chambermusic,pianoworks,andchoralcompositi
ons,manyof
whichrev
ealtheinfluenceoffol
[Link] sbest
-knownwor ksincl
ude
SymphonyNo.3i nFMaj or
,Wiegenl
i
ed, Op.49,No.4,andHungar i
anDances.

[Link]
char
dWagner(
1813–83)

TheGer mancomposerandt heoristRichardWagnerext endedtheoper atradit

ionand
revoluti
onizedWest [Link] amat i
ccomposi t
ionsareparti
cularl
yknownf orthe
useofl eit
mot if
s, br
iefmusicalmot if
sf orachar act
er,pl
ace,orevent
, whichheski l
lf
ully
transformedt hroughoutapi [Link] smaj orworksaretheoper asTheFl yi
ng
Dut chman, Tannhäuser ,
Lohengr i
n,Tr i
stanandI sol
de,Parsi
fal
,andthet etr
alogyThe
Ringoft heNi belung,whichincludesTheVal kyr
[Link] roversialf
igures
i
ncl assicalmusi c,hisworktranscendshi schar act
er,
whichwasdef inedby
megal omani actendenciesandant i
-Semi t
icviews.

[Link]
audeDebussy(
1862–1918)

TheFr enchcomposerCl audeDebussyi soft

enregardedasthef atherofmoder n
classi
calmusi [Link] exhar moniesandmusi cal
struct
uresthatev okecomparisonstotheartofhi
scont emporaryImpr essi
onistand
Sy mboli
stpaintersandwrit
[Link]
udeCl ai
rdel une,LaMer ,Prel
udet
o
theAfternoonofaFaun, andtheoper aPell
éasetMél i
sande.
[Link]
otrI
lyi
chTchai
kov
sky(
1840–93)

Writ
ingmusi cwithbroademot i
onalappealdur
ingtheRomant i
cperiod,Py ot
rIlyi
ch
Tchaikovskybecameoneoft hemostpopul arRussiancomposersofal lti
[Link]
schooledinthewesternEuropeantradi
ti
onandassi mil
atedel
ement sfrom French,
It
ali
an,andGer manmusi cwithapersonalandRussianstyl
[Link] sbest-known
workswer ecomposedf ortheball
et,i
ncl
udingSwanLake, TheSleepingBeaut y,andThe
Nutcracker,
Op.71,buttheyalsoincl
udePianoConcer t
oNo.1i nB-fl
atMi nor,Op.23
andMar cheSlave,Op.31.

[Link]
édér
icChopi
n(1810–49)

Frédéri
cChopi nwasaPol ishFr
enchcomposerandpianistoftheRomant i
cperi
[Link]
wasoneoff ewcomposer stodevot
ehimselftoasi
ngleinstr
ument,andhissensit
ive
approachtot hekeyboardall
owedhimtoexploi
tal
ltheresourcesofthepiano,
incl
uding
i
nnov at
ionsinfinger
ingandpedali
[Link]
sthusprimaril
yknownf orwrit
ingmusicfor
thepiano,notablyNoctur
ne,Op.9No.2

[Link]
dn(
1732–1809)

TheAust r
iancomposerJosephHay dnwasoneoft hemostimport
antfigur
esinthe
developmentoftheCl assi
calst
yleofmusi cduri
ngthe18thcent
[Link]
establi
shtheformsandst ylesf
orthest r
ingquart
[Link] ol
if
ic
composer ,andsomeofhi smostwel l-
knownwor ksareSymphonyNo.92i nGMaj or,
Emper orQuartet
,andCel l
oConcertoNo.2i nDMaj or
.Hiscomposit
ionsareoft
en
character
izedaslight
,witty
,andelegant.

[Link]
oni
oVi
val
di(
1678–1741)

AntonioVi val
diwasanI tal
iancomposerandv i
oli
nistoftheBaroqueperi
[Link] ot
e
musicf oroperas,soloi nstr
uments,andsmal lensembles,butheisoft
encelebrat
edfor
hisconcer t
i,i
nwhi chv i
rtuososolopassagesal t
ernatewithpassagesfort
hewhol e
[Link] oteabout500concer t
i,ofwhichhisbest-knownworkisthegroupof
fourviol
inconcer t
i t
it
[Link] sMandol i
nConcertoinCMaj or,
RV425,
Concer t
of orFourViolinsandCel l
oinBMi nor
,Op.3, No.
10andConcer toforTwo
Trumpet sinCMaj orar eequallyplay
fulandcompl ex.
 MUSI
CALCOMPOSI
TION
TheCl
assi
cal
per
iod

TheCl assi cal erai nmusi ci scomposi tional lydef i

nedbyt hebal ancedecl ect i
cism oft he
l
at e18t h-andear l
y19t h-cent uryVi ennese“ school ”ofHay dn, Mozar t,Beet hov en, and
Schuber t,
whocompl etelyabsor bedandi ndi viduallyf usedort ransf or medt hev astar ray
of18t h-cent urytext ur esandf or mal [Link] onoft het ripar tit
eI tali
anov er ture
hadpr oducedt hebasi cthr ee- mov ementschemeoft hesy mphonyev enbef or et he18t h
centur yr eachedmi dpoi [Link] tlyt her eaf ter, themi nuet ,bor r
owedf rom t hedancesui t
e,
wasi nser tedwi t
hi ncr easi ngf r
equencyasaf ourthmov ementbet weent hesl ow
mov ementandt hef astf i
nal [Link] enchoper aov ertur ei nt ur nl enti tsslow
i
nt r
oduct i
onwher eneededf orst ruct ural v [Link] ur ally, homophony( chor dal
textur e)andpol yphonysoonassumedr atherspeci ficr oles, wi thpol yphoni cwr i
ting
usual lyr eserv edf ort hecent ralordev elopmentsect ionoft hecl assi cal fi
rst -mov ement
[Link] gani cf usionofanumberofst yl
ist i
ct raitspr ev iousl yassoci at edwi t h
strongandi mmedi at econt rasti sexempl i
f i
edbyt heobbl igat oaccompani ment , the
textur emostt ypical ofViennesecl assi ci [Link] et her elat iveequal ityofal lthemel odi c
partsi nagi vencomposi ti
oni sensur edwi thoutdeny ingt hemel odi csupr emacyoft he
trebleandt hehar moni callydeci siver oleoft [Link] olut i
onoft hischar act eristic
textur ecanbet r
acedi nthest r
ingquar tet sofHay [Link] irst ,
f ollowi ngear lier18t h-
centur ycust om, Hay dnwr ot est ri
ct lyt r
ebl e- domi nat edcomposi ti
onswi thasi mpl ifi
ed
bass( ascompar edwi tht hemor ev ar i
edbassocont inuo) ; then, wi tht hesi xSun
Quar tet s,Opus20, dat i
ngf rom t heear l
y1770s, hedef iedpr ecedentandconcl uded
eachwor kwi thaf uguei nt he“ lear nedst yle”ofHandel .Fi nal l
y ,inhi sRussi anQuar tet s,
Opus33, written,inhi sownwor ds, “inanewmanner ,
”Hay dnachi ev edt hef usionof
element sofbot ht hel earnedandt het rebl e-domi nat edst y l
[Link] esul twasa
harmoni call
yor ient ed, yetpol yphoni cal l
yani mat ed, text ur et hatwast oaf fectbot h
i
nst rument al andv ocal ensembl emusi cf orgener ations.I twasal soatt hispoi nt ,when
composi ti
onal procedur esr eachedadegr eeofst abi lityanduni ver salityunmat ched
sinceRenai ssancepol yphony ,thatcomposi tionbegant obet akenser i
ousl yasa
separ at emusi cianl ydi [Link]’ sf amousGr adusadPar nassum
(Stepst oPar nassus) ,publ ishedf irsti nLat i
ni n1725andsubsequent lyinev er y
i
mpor tantmoder nl anguage, wasst i
llbasi callyadi dact ict r eat i
seoncount er poi nt
abstr act edf rom 16t h-cent ur ypr act [Link] tser v edi tspur poset hroughoutt he
18thcent ury,whi lehar monycont inuedt obet aughtast hear tofaccompani ment —i.e.,
theimpr ovisedr eal izationofaf igur [Link] ent ual lyt hegener alfasci nat ionwi t h
compr ehensi veknowl edge, spar kedbyt heFr enchEncy clopédi e, inspi redatf irst
spor adi c,thenev ermor enumer ous, volumesdeal ingpr ogr essi vel ywi thal laspect sof
composi ti
[Link] i
ngt heensui ng19t hcenturytherapidinsti
tutionali
zationofmusi cal
educationi nthei mageoft heNat ionalConservator
yofMusi cinPar is,createdwhilethe
FrenchRev ol
ut i
onwasst il
lraging, addedfur
thertotheacademi csystemat i
zat i
onofall
musical studiesal ongl i
nest hathav eessent
iall
yremainedi nf [Link] heteachingof
musical composi t
ionr eflectstot hisdaythebiasesoft he19t hcent ury,specifi
call
yits
concernwi thf unctional harmonyast hepri
ncipalgenerati
vef orceinmusi c—adoct r
ine
fi
rstproclaimedi nt he1720si nt henameofnat ure(asbei ngconsi stentwi t
ht he
harmoni cov ertoneser ies)byt hecomposerandt heori
stJean- Phili
ppeRameau.

Audi
encesdur
ingt
heCl
assi
calPer
iod
TheAudienceAgency’
snewr epor
tonnati
onalclassicalmusicaudi
encesi
sbasedon
ananaly
sisofdatafr
om AudienceFi
nder
,thenationalcult
uralaudi
encei
nsi
ght
progr
am, cov
eri
ngclassi
cal
musi cev
entsfrom 2014t o2016.

Herearef
iveheadl
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ndingsf
rom t
her
epor
tont
hebehav
ior
sofcl
assi
cal
musi
c
audi
encesacrosst
hecountr
y.

[Link]
ori
tyonl
ybookonce

Whil
emostor ganizationshav eaccesstotheirowndat a,whatisint
erest
ingabout
AudienceFinderisi tall
owsy outoseet hepictureatanat i
onall
evel
.Thebooki ngdata
fr
om acrossalltheor ganizat
ionsstudiedovert hetwo-yearper
iodshowedt hatthe
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y(67%)ofpeopl eonlybookedoncef orcl assi
calmusicconcerts(
representi
ng
30%oft heoverallincomegener atedthroughbooki ngsmadei nthetwo-yearperi
od).

[Link]-
ti
mebooker
spayt
hel
east

Peoplewhoat tendedtwot ofiveconcert

spaidt hemostforthei
rti
ckets,onaverage
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et hosewhoat tendedsixti
mesormor epaidsli
ghtl
ylessat£20.38,
probablyduetosubscript
ionsandmember [Link]-t
imebookers,‘
oncers’,
paidon
averagetheleastfort
heirti
cketsatjust£[Link]
ti
cketsmaypl ayanimpor t
antroleinloweri
ngt hesenseofri
skforsuchv eryoccasi
onal
bookers.
[Link]
assi
calmusi
caudi
encesbookal
ongt
imei
nadv
ance

Wef oundt hat35%ofcl assicalmusi caudi encesbookedov er90day sinadv [Link]

i
sasi gnif
icantpr opor t
ionoft hebooker s,parti
cular
lyincompar isontotheov er
all
AudienceFi nderbenchmar kacr ossal l
artforms,whereonl y23%ofaudi encesbooked
thi
sfari nadv [Link] i
ngly,thereisv er
ylit
tl
ediffer
encei nthebooki nglead-t
imes
forclassical musicaudi encesi [Link] ef al
li
ngintotheHome&
Herit
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hinourcul t
uralsegment ati
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ngaudi
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lenge

Model l
i
ngAudi enceFinderandpopulati
onchangedat ademonst ratesthattheaverage
ageofaudi encesforclassi
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matet he
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cul
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eakdown
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cal musicbookersandt heagebreakdownatnat ional l
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edagebr eakdownsuggest sthatcl
assi calmusi cbookers
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ytobeagedov
er61

7%l
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kel
ytobeagedunder31

[Link]
lcl
assi
calmusi
caudi
encesar
ethesame

Thosewhobookf orthesub-genresBar oque,chamberandr eci

tal
s,classi
cal choraland
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ikelytoattendcl
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hspeci ali
stor
nicheinter
estsar
elikelytobemor eopent oexpl or
ingothersub-
genresofcl assical
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Act
ivi
ty#1:Mul
ti
pleChoi
ce
I
nst
ructi
on:Pl
easereadt
hef ol
lowi
ngquest
ionscar
eful
l
ythenanswert
hequest
ion.
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tethel
ett
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rectanswer.

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assi
calper
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aofcl
assi
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cbet
weenwhaty
ear
s?

a.1730-
1820

b.1720-
1830

c.1830-
1920

d.1820-
1930

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oll
owi
ngar
ethemai
nki
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rument
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mphony

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tar

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eist
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ty?

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anet
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4.I
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essi
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c
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ionalcul
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nsi
ghtpr
ogr
ammecov
ert
he
cl
assi
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ents?

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2011

b.2011-
2012

c.2012-
2013

d.2014-
2016

[Link]
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ingt
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ime?

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en

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vi
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enna

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vi
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rstmusicianofstatur
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t

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istwhoext
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hov
en

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 [Link]
tenr
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cal
music?

[Link]
hov
en

[Link]

[Link]
ahms

[Link]

10.
Inwhatcent
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ainmusi
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onal
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inedby
thebal
anceecl
ect
icism?

e18th-andear
[Link] ly19thcent
ury

[Link]
ly18th-andl
ate19thcent
ury

c.18th-and19thcent
ury

[Link]
heabov
e

Act
ivi
ty#2:Enumer
ati
on.
Inst
ruct
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hequesti
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atewhati
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[Link]
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.

[Link]
vethe10Cl
assi
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amousComposer
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veatl
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t
hei
rmostfamouscomposi
ti
ons.

Act
ivi
ty#3:I
dent
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oll
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antf
igur
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nthedev
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t
h
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ingthe18 cent
ury.

[Link]
ewhoat
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ort
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rti
cket
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[Link]
tional
l
ydef
inedbyt
hebal
ancedecl
ect
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sm oft
hel
ate18th-andear
ly
t
h
29 cent
ury.

[Link]
assi
cal
per
iodi
sknownas;

[Link]
acedast
hemai
nkey
boar
dinst
rumentbyt
hepi
ano.

[Link]
emporari
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entasamusi
cianbutt
houghthi
s
composit
ionswhereol
d-f
ashi
oned.

[Link]
icanoper
asi
ngerRosaPonsel
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ein“
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odat
ed.

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ingt
hisperi
od,composersweret
reat
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ikeser
vant
sbyt
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ocrat
sand
wer
eexpectedtocatert
hei
rmusical
whims,
oftenatamoment
’snoti
ce.

[Link]
i
shFr
enchcomposerandpi
ani
stoft
heRomant
icPer
iod.

10.
Heist
heonl
ycomposert
owr
it
eandexcel
inal
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hemusi
cal
genr
esoft
his
ti
me.
Answer
sKey
!

Act
ivi
ty#1.
1.A

2.D

3.B

4.D

5.D

6.C

7.B

8.C

9.D

10.A

Act
ivi
ty#2.
[Link]
gvanBeet
hov
en(
1770–1827)

[Link]
ianBach(
1685–1750)

[Link]
fgangAmadeusMozar
t(1756–91)

[Link]
ahms(
1833–97)

[Link]
char
dWagner(
1813–83)

[Link]
audeDebussy(
1862–1918)

[Link]
otrI
lyi
chTchai
kov
sky(
1840–93)

[Link]
édér
icChopi
n(1810–49)

[Link]
dn(
1732–1809)

[Link]
oni
oVi
val
di(
1678–1741)
Act
ivi
ty#3.

[Link]
dn

[Link]-
ti
mebooker
'spayt
hel
east

[Link]
assi
calPer
iod

[Link]
ight
enment

[Link]
psi
chor
d

[Link]
ianBach

7.1920-
1925

[Link]
lyBar
oquePer
iod

[Link]
édér
icChopi
n

[Link]
fgangAmadeusMozar
t

Pr
epar
edBy
:[Link]

BPEDEP1-
5PED(
104MUSI
C)