A Comparison of Baroque, Classical and Romantic and 20th century Styles

Baroque

Classical

Melody

Continuous melody with

wide leaps
Chromatic tones for
emotional effect

Rhythm

Single rhythm predominant: Clear rhythmically

Steady, energetic pulse,
With regular recurring accents
freer in vocal music
Dance rhythms favored

Rhythmic diversity and elasticity

Tempo Rubato

Harmony

Chromatic harmony for

expressive effect: majorminor system established
with brief excursions to
other keys

Diatonic harmony favored

Tonic-dominant relationships
expanded

Increasing chromaticism
Expanded concepts of tonality

Monodic texture(early
Baroque)
Polyphonic texture(late
baroque)
Linear-horizontal
dimensions

Homophonic textures
Horizontal perspective

Homophony, turning to increased

polyphony in later years of era

Trio Sonata, concerto

grosso, suite, prelude,
fugue, chaconne,
passacaglia

Symphony, solo concerto,

Solo sonata, string quartet

Same large genres, adding one

movement symphonic poems,
Solo piano works

Opera, Mass, Solo Songs

Same vocal forms, adding works

for solo voice and piano/orchestra

Ternary form predominant,

Expansion of forms and interest in

Texture

Instrumental
Genres

Vocal Genres Opera, Mass, Oratorio,

Cantata
Form

Binary and Ternary forms

Symmetrical Melody in balanced

phrases and cadences
Tuneful
With narrow leaps

Romantic
Expansive, singing melodies
Wide ranging
More varied
With chromatic inflections

20th Century

predominant
Audience

Sonata-allegro form developed

Absolute forms preferred

continuous as well as miniature

programme form

Secular music predominant

Aristocratic audience

Secular music predominant

Middle-class audience

Dynamics

Subtle dynamic nuances:

forte/piano contrasts, echo
effects

Continuous changing dynamics

Widely ranging dynamics for
through crescendo and decrescendo expressive purposes

Timbre

Continuous tone color

throughout one movement

Changing Tone Colors between

sections of works

Continual change and blend of

tone colors
Experiments with new instruments
and unusual ranges

String orchestra, with added

woodwinds,
Organ and harpsichord in
use

String Orchestra with woodwinds

and some brass
30-40 member orchestra
rise of piano to prominence

Introduction of new instruments

(tuba, English Horn, valved brass,
harp, piccolo)
Much larger orchestras
Piano predominant as solo
instrument

Improvisation largely limited to

cadenzas in concertos

Increased virtuosity
Composers specified more in
scores

Performing
Forces

Virtuosity
Improvisation expected:
(Improvisation) harmonies realized from
figured bass
Expression
(Emotion)

Single affection, emotional Emotional restraint and balance

exuberance and theatricality

Emotions, mood, atmosphere

emphasized
Interest in bizarre and macabre