Classical music is art music produced or rooted in the traditions of Western music , including both liturgical (religious) and secular music. While a more accurate term is additionally used to refer to the period from 1750 to 1820 (the Classical period ), this article is about the broad span of time from roughly the eleventh century to the present day, which includes the Classical period and various additional periods. The central norms of this tradition became codified between 1550 and 1900, which is known as the common practise period . The major time divisions of Western art music are as follows: the early music period, which includes the Medieval (500–1400) and the Renaissance (1400–1600) eras; the Common practise period, which includes the Baroque (1600–1750), Classical (1750–1820), and Romantic eras (1804–1910); and the 20th century (1901–2000) which includes the modern (1890–1930) that overlaps from the late 19th-century, the high modern (mid 20th-century), and contemporary or postmodern (1975–2015) eras.
European art music is largely distinguished from a large number of additional non-European and a few popular musical forms by its system of staff notation , in use after about the sixteenth century. Western staff notation is used by composers to indicate to the performer the pitches (e.g., melodies , basslines , chords ), tempo , meter and rhythms for a piece of music. This can leave less room for practises like improvisation and ad libitum ornamentation , which are frequently heard in non-European art music and in popular music styles like jazz and blues . An Additional difference is that whereas most popular styles adopt the song ( strophic ) form, classical music has been noted for its development of highly sophisticated forms of instrumental music like the concerto , symphony , sonata , and mixed vocal and instrumental styles like opera which, after they're written down, can sustain larger forms and attain a high level of complexity.
The term "classical music" didn't appear until the early nineteenth century, in an attempt to distinctly canonise the period from Johann Sebastian Bach to Beethoven as a golden age. The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836. 
Given the wide range of styles in classical music, from Medieval plainchant sung by monks to Classical and Romantic symphonies for orchestra from the 1700s and 1800s to avant-garde atonal compositions for solo piano from the 1900s, it is difficult to list characteristics that can be attributed to all works of that type. Notwithstanding there are characteristics that classical music contains that few or no additional genres of music contain, like the use of a printed score and the performance of quite complex instrumental works (e.g., the fugue ). As well, although the symphony didn't exist through the entire classical music period, from the mid-1700s to the 2000s the symphony ensemble —and the works written for it —have become a defining feature of classical music.
The key characteristic of classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation , creating a musical part or score . This score typically determines details of rhythm, pitch, and, where two or more musicians (whether singers or instrumentalists) are involved, how the various parts are coordinated. The written quality of the music has enabled a high level of complexity within them: J.S. Bach 's fugues , for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be impossible in the heat of live improvisation. The use of written notation additionally preserves a record of the works and enables Classical musicians to perform music from a large number of centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with a large number of of the features of the music (the melodies, lyrics, forms, and rhythms) being reproduced.
That said, the score doesn't provide complete and exact instructions on how to perform a historical work. Even if the tempo is written with an Italian instruction (e.g., Allegro), we don't know exactly how fast the piece should be played. As well, in the Baroque era, a large number of works that were designed for basso continuo accompaniment don't specify which instruments should play the accompaniment or exactly how the chordal instrument (harpsichord, lute, etc.) should play the chords, which aren't notated in the part (only a figured bass symbol beneath the bass part is used to guide the chord-playing performer). The performer and the conductor have a range of options for musical expression and interpretation of a scored piece, including the phrasing of melodies, the time taken throughout fermatas (held notes) or pauses, and the use (or choice not to use) of effects like vibrato or glissando (these effects are possible on various stringed, brass and woodwind instruments and with the human voice).
Although Classical music in the 2000s has lost most of its tradition for musical improvisation , from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes , keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and both vocal and instrumental performers would improvise musical ornaments . J.S. Bach was particularly noted for his complex improvisations.  Throughout the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. Throughout the Classical era, a few virtuoso soloists would improvise the cadenza sections of a concerto. Throughout the Romantic era, Beethoven would improvise at the piano. For more information, see .
Instrumentation and vocal practices
The instruments currently used in most classical music were largely invented before the mid-19th century (often much earlier) and codified in the eighteenth and nineteenth centuries. They consist of the instruments found in an orchestra or in a concert band , together with several additional solo instruments (such as the piano , harpsichord , and organ ). The symphony orchestra is the most widely known medium for classical music and includes members of the string , woodwind , brass , and percussion families of instruments. The concert band consists of members of the woodwind, brass, and percussion families. It generally has a larger variety and amount of woodwind and brass instruments than the orchestra but doesn't have a string section. Notwithstanding a large number of concert bands use a double bass . The vocal practises changed over the classical period, from the single line monophonic Gregorian chant done by monks in the Medieval period to the complex, polyphonic choral works of the Renaissance and subsequent periods, which used multiple independent vocal melodies at the same time.
Many of the instruments used to perform mediaeval music still exist, but in different forms. Medieval instruments included the wood flute (which in the twenty-first century is made of metal), the recorder and plucked string instruments like the lute . As well, early versions of the organ , fiddle (or vielle ), and trombone (called the sackbut ) existed. Medieval instruments in Europe had most commonly been used singly, most often self accompanied with a drone note, or occasionally in parts. From at least as early as the thirteenth century through the fifteenth century there was a division of instruments into haut (loud, shrill, outdoor instruments) and bas (quieter, more intimate instruments).
During the earlier mediaeval period , the vocal music from the liturgical genre, predominantly Gregorian chant , was monophonic , using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop throughout the high mediaeval era , fitting prevalent by the later thirteenth and early fourteenth century.
Many instruments originated throughout the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in the modern day, instruments might be classified as brass, strings, percussion, and woodwind.
Brass instruments in the Renaissance were traditionally played by professionals who were members of Guilds and they included the slide trumpet , the wooden cornet , the valveless trumpet and the sackbut . Stringed instruments included the viol , the harp-like lyre , the hurdy-gurdy , the cittern and the lute . Keyboard instruments with strings included the harpsichord and the virginal . Percussion instruments include the triangle, the Jew's harp, the tambourine, the bells, the rumble-pot, and various kinds of drums. Woodwind instruments included the double reed shawm , the reed pipe , the bagpipe , the transverse flute and the recorder .
Vocal music in the Renaissance is noted for the flourishing of an increasingly elaborate polyphonic style. The principal liturgical forms which endured throughout the entire Renaissance period were masses and motets, with a few additional developments towards the end, especially as composers of sacred music began to adopt secular forms (such as the madrigal ) for their own designs. Towards the end of the period, the early dramatic precursors of opera like monody, the madrigal comedy , and the intermedio are seen.
Baroque instruments included a few instruments from the earlier periods (e.g., the hurdy-gurdy and recorder) and a number of new instruments (e.g, the cello, contrabass and fortepiano). Some instruments from previous eras fell into disuse, like the shawm and the wooden cornet. The key Baroque instruments for strings included the violin , viol , viola , viola d'amore , cello , contrabass , lute , theorbo (which most often played the basso continuo parts), mandolin , cittern , Baroque guitar , harp and hurdy-gurdy. Woodwinds included the Baroque flute , Baroque oboe , rackett , recorder and the bassoon . Brass instruments included the cornett , natural horn , Baroque trumpet , serpent and the trombone . Keyboard instruments included the clavichord , tangent piano , the fortepiano (an early version of the piano), the harpsichord and the pipe organ . Percussion instruments included the timpani , snare drum , tambourine and the castanets .
One major difference between Baroque music and the classical era that followed it is that the types of instruments used in ensembles were much less standardized. Whereas a classical era string quartet consists almost exclusively of two violins, a viola and a cello, a Baroque group accompanying a soloist or opera could include one of several different types of keyboard instruments (e.g., pipe organ, harpsichord, or clavichord), additional stringed chordal instruments (e.g., a lute) and an unspecified number of bass instruments performing the basso continuo bassline , including bowed strings, woodwinds and brass instruments (e.g., a cello, contrabass, viol, bassoon, serpent, etc.).
The term "classical music" has two meanings: the broader meaning includes all Western art music from the Medieval era to today, and the specific meaning refers to the music from the 1750s to the early 1830s—the era of Mozart and Haydn. This section is about the more specific meaning.
Classical musicians continued to use a large number of of instruments from the Baroque era, like the cello, contrabass, recorder, trombone, timpani, fortepiano and organ. While a few Baroque instruments fell into disuse (e.g., the theorbo and rackett), a large number of Baroque instruments were changed into the versions that are still in use today, like the Baroque violin (which became the violin), the Baroque oboe (which became the oboe) and the Baroque trumpet, which transitioned to the regular valved trumpet.
The Classical era stringed instruments were the four instruments which form the string section of the orchestra : the violin, viola, cello and contrabass. Woodwinds included the basset clarinet , basset horn , clarinette d'amour , the Classical clarinet , the chalumeau , the flute, oboe and bassoon. Keyboard instruments included the clavichord and the fortepiano . While the harpsichord was still used in basso continuo accompaniment in the 1750s and 1760s, it fell out of use in the end of the century. Brass instruments included the buccin , the ophicleide (a serpent replacement which was the precursor of tuba ) and the natural horn .
The "standard complement" of double winds and brass in the orchestra from the first half of the nineteenth century is generally attributed to Beethoven. The exceptions to this are his Symphony No. 4 , Violin Concerto , and Piano Concerto No. 4 , which each specify a single flute . The composer 's instrumentation most of the time included paired flutes , oboes , clarinets , bassoons , horns and trumpets . Beethoven carefully calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, and 9 for an innovative effect. The third horn in the "Eroica" Symphony arrives to provide not only a few harmonic flexibility, but additionally the effect of "choral" brass in the Trio. Piccolo , contrabassoon , and trombones add to the triumphal finale of his Symphony No. 5 . A piccolo and a pair of trombones help deliver "storm" and "sunshine" in the Sixth . The Ninth asks for a second pair of horns, for reasons similar to the "Eroica" (four horns has after become standard); Beethoven's use of piccolo, contrabassoon, trombones, and untuned percussion —plus chorus and vocal soloists—in his finale, are his earliest suggestion that the timbral boundaries of symphony should be expanded. For several decades after he died, symphonic instrumentation was faithful to Beethoven's well-established model, with few exceptions.
In the Romantic era, the modern piano , with a more powerful, sustained tone and a wider range took over from the more delicate-sounding fortepiano. In the orchestra, the existing Classical instruments and sections were retained ( string section , woodwinds, brass and percussion), but these sections were typically expanded to make a fuller, bigger sound. For example, while a Baroque orchestra might have had two double bass players, a Romantic orchestra could have as a large number of as ten. "As music grew more expressive, the standard orchestral palette just wasn't rich enough for a large number of Romantic composers."  New woodwind instruments were added, like the contrabassoon , bass clarinet and piccolo and new percussion instruments were added, including xylophones , drums , celestes (a bell-like keyboard instrument), large orchestral harps , bells , and triangles  and even wind machines for sound effects.
Saxophones appear in a few scores from the late nineteenth century onwards. While appearing only as featured solo instruments in a few works, for example Maurice Ravel 's orchestration of Modest Mussorgsky 's Pictures at an Exhibition and Sergei Rachmaninoff 's Symphonic Dances , the saxophone is included in additional works, like Ravel's Boléro , Sergei Prokofiev 's Romeo and Juliet Suites 1 and 2 and a large number of additional works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, most of the time playing parts marked "tenor tuba", including Gustav Holst 's The Planets , and Richard Strauss 's Ein Heldenleben .
The Wagner tuba , a modified member of the horn family, appears in Richard Wagner 's cycle Der Ring des Nibelungen and several additional works by Strauss, Béla Bartók , and others; it has a prominent role in Anton Bruckner 's Symphony No. 7 in E Major .  Cornets appear in Pyotr Ilyich Tchaikovsky 's ballet Swan Lake , Claude Debussy 's La Mer , and several orchestral works by Hector Berlioz . Unless these instruments are played by members doubling on another instrument (for example, a trombone player changing to euphonium for a certain passage), orchestras will use freelance musicians to augment their regular rosters.
Electric instruments like the electric guitar , the electric bass and the ondes Martenot appear occasionally in the classical music of the twentieth and twenty-first centuries. Both classical and popular musicians have experimented in recent decades with electronic instruments like the synthesizer , electric and digital techniques like the use of sampled or computer-generated sounds , and instruments from additional cultures like the gamelan .
Many instruments today associated with popular music filled important roles in early classical music, like bagpipes , vihuelas , hurdy-gurdies , and a few woodwind instruments. On the additional hand, instruments like the acoustic guitar , once associated mainly with popular music, gained prominence in classical music in the nineteenth and twentieth centuries.
While equal temperament became gradually accepted as the dominant musical temperament throughout the eighteenth century, different historical temperaments are most often used for music from earlier periods. For instance, music of the English Renaissance is most often performed in meantone temperament .
Performers who have studied classical music extensively are said to be "classically trained". This training might be from private lessons from instrument or voice teachers or from completion of a formal programme offered by a Conservatory, college or university, like a B.mus. or M.mus. degree (which includes individual lessons from professors). In classical music, "...extensive formal music education and training, most often to postgraduate [Master's degree] level" is required. 
Performance of classical music repertoire requires a proficiency in sight-reading and ensemble playing, harmonic principles, strong ear training (to correct and adjust pitches by ear), knowledge of performance practice (e.g., Baroque ornamentation), and a familiarity with the style/musical idiom expected for a given composer or musical work (e.g., a Brahms symphony or a Mozart concerto).
Some "popular" genre musicians have had significant classical training, like Billy Joel , Elton John , the Van Halen brothers, Randy Rhoads and Ritchie Blackmore . Moreover, formal training isn't unique to the classical genre. Many rock and pop musicians have completed degrees in commercial music programmes like those offered by the Berklee College of Music and a large number of jazz musicians have completed degrees in music from universities with jazz programs, like the Manhattan School of Music and McGill University .
Gender of performers
Historically, major professional orchestras have been mostly or entirely composed of male musicians. Some of the earliest cases of women being hired in professional orchestras was in the position of harpist . The Vienna Philharmonic , for example, didn't accept women to permanent membership until 1997, far later than the additional orchestras ranked amongst the world's top five by Gramophone in 2008.  The last major orchestra to appoint a woman to a permanent position was the Berlin Philharmonic .  As late as February 1996, the Vienna Philharmonic's principal flute, Dieter Flury, told Westdeutscher Rundfunk that accepting women would be "gambling with the emotional unity ( emotionelle Geschlossenheit ) that this organism currently has".  In April 1996, the orchestra's press secretary wrote that "compensating for the expected leaves of absence" of maternity leave would be a problem. 
In 1997, the Vienna Philharmonic was "facing protests throughout a [US] tour" by the National Organization for Women and the International Alliance for Women in Music . Finally, "after being held up to increasing ridicule even in socially conservative Austria, members of the orchestra gathered [on 28 February 1997] in an extraordinary meeting on the eve of their departure and agreed to admit a woman, Anna Lelkes, as harpist."  As of 2013, the orchestra has six female members; one of them, violinist Albena Danailova became one of the orchestra's concertmasters in 2008, the first woman to hold that position.  In 2012, women still made up just six percent of the orchestra's membership. VPO president Clemens Hellsberg said the VPO now uses completely screened blind auditions . 
In 2013, an article in Mother Jones stated that while "[m]any prestigious orchestras have significant female membership—women outnumber men in the New York Philharmonic 's violin section—and several renowned ensembles, including the National Symphony Orchestra , the Detroit Symphony , and the Minnesota Symphony, are led by women violinists", the double bass , brass, and percussion sections of major orchestras "...are still predominantly male."  A 2014 BBC article stated that the "...introduction of 'blind' auditions , where a prospective instrumentalist performs behind a screen so that the judging panel can exercise no gender or racial prejudice, has seen the gender balance of traditionally male-dominated symphony orchestras gradually shift." 
Works of classical repertoire most often exhibit complexity in their use of orchestration , counterpoint , harmony , musical development , rhythm , phrasing , texture , and form . Whereas most popular styles are most of the time written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto , symphony , sonata , and opera .
Longer works are most often divided into self-contained pieces, called movements , most often with contrasting characters or moods. For instance, symphonies written throughout the Classical period are most of the time divided into four movements: (1) an opening Allegro in sonata form, (2) a slow movement, (3) a minuet or scherzo, and (4) a final Allegro. These movements can then be further broken down into a hierarchy of smaller units: first sections , then periods , and finally phrases .
The major time divisions of classical music up to 1900 are the early music period, which includes Medieval (500–1400) and Renaissance (1400–1600) eras, and the Common practise period , which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. Since 1900, classical periods have been reckoned more by calendar century than by particular stylistic movements that have become fragmented and difficult to define. The 20th century calendar period (1901–2000) includes most of the early modern musical era (1890–1930), the entire high modern (mid 20th-century), and the first 25 years of the contemporary or postmodern musical era (1975–current). The 21st century has so far been characterised by a continuation of the contemporary/postmodern musical era.
The dates are generalizations , after the periods and eras overlap and the categories are somewhat arbitrary, to the point that a few authorities reverse terminologies and refer to a common practise "era" comprising baroque, classical, and romantic "periods".  For example, the use of counterpoint and fugue , which is considered characteristic of the Baroque era (or period), was continued by Haydn , who's classified as typical of the Classical era. Beethoven , who's most often described as a founder of the Romantic era, and Brahms , who's classified as Romantic, additionally used counterpoint and fugue, but additional characteristics of their music define their era.
The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, like Classical or Romantic. Stravinsky's Pulcinella , for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.
Burgh (2006), suggests that the roots of Western classical music ultimately lie in ancient Egyptian art music via cheironomy and the ancient Egyptian orchestra, which dates to 2695 BC. The development of individual tones and scales was made by ancient Greeks like Aristoxenus and Pythagoras . Pythagoras created a tuning system and helped to codify musical notation . Ancient Greek instruments like the aulos (a reed instrument ) and the lyre (a stringed instrument similar to a small harp) eventually led to the modern-day instruments of a classical orchestra. The antecedent to the early period was the era of ancient music before the fall of the Roman Empire (476 AD). Very little music survives from this time, most of it from ancient Greece.
The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, additionally called plainsong or Gregorian chant , was the dominant form until about 1100. Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance , including the more complex voicings of motets .
The Renaissance era was from 1400 to 1600. It was characterised by greater use of instrumentation , multiple interweaving melodic lines, and the use of the first bass instruments . Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize.
It is in this time that the notation of music on a staff and additional elements of musical notation began to take shape. This invention made possible the separation of the composition of a piece of music from its transmission ; without written music, transmission was oral, and subject to change every time it was transmitted. With a musical score , a work of music can be performed without the composer's presence. The invention of the movable-type printing press in the fifteenth century had far-reaching consequences on the preservation and transmission of music.
Typical stringed instruments of the early period include the harp, lute , vielle , and psaltery , while wind instruments included the flute family (including recorder ), shawm (an early member of the oboe family), trumpet, and the bagpipes . Simple pipe organs existed, but were largely confined to churches, although there were portable varieties. Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments like the viol had emerged by the sixteenth century, as had a wider variety of brass and reed instruments. Printing enabled the standardisation of descriptions and specifications of instruments, as well as instruction in their use.
Common practise period
The common practise period is when a large number of of the ideas that make up western classical music took shape, standardized, or were codified. It began with the Baroque era, running from roughly 1600 to the middle of the eighteenth century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the nineteenth century, ending about 1910.
Baroque music is characterised by the use of complex tonal counterpoint and the use of a basso continuo , a continuous bass line. Music became more complex in comparison with the songs of earlier periods. The beginnings of the sonata form took shape in the canzona , as did a more formalised notion of theme and variations . The tonalities of major and minor as means for managing dissonance and chromaticism in music took full shape.
During the Baroque era, keyboard music played on the harpsichord and pipe organ became increasingly popular, and the violin family of stringed instruments took the form generally seen today. Opera as a staged musical drama began to distinguish itself from earlier musical and dramatic forms, and vocal forms like the cantata and oratorio became more common. Vocalists began adding embellishments to melodies. Instrumental ensembles began to distinguish and standardise by size, giving rise to the early orchestra for larger ensembles, with chamber music being written for smaller groups of instruments where parts are played by individual (instead of massed) instruments. The concerto as a vehicle for solo performance accompanied by an orchestra became widespread, although the relationship between soloist and orchestra was relatively simple.
The theories surrounding equal temperament began to be put in wider practice, especially as it enabled a wider range of chromatic possibilities in hard-to-tune keyboard instruments. Although Bach didn't use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system , common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's Well-Tempered Clavier .
Classical era (or period) music
The Classical era, from about 1750 to 1820, established a large number of of the norms of composition, presentation, and style, and was additionally when the piano became the predominant keyboard instrument. The basic forces required for an orchestra became somewhat standardised (although they would grow as the potential of a wider array of instruments was developed in the following centuries). Chamber music grew to include ensembles with as a large number of as 8 to 10 performers for serenades . Opera continued to develop, with regional styles in Italy, France, and German-speaking lands. The opera buffa , a form of comic opera, rose in popularity. The symphony came into its own as a musical form, and the concerto was developed as a vehicle for displays of virtuoso playing skill. Orchestras no longer required a harpsichord (which had been part of the traditional continuo in the Baroque style), and were most often led by the lead violinist (now called the concertmaster ).
Wind instruments became more refined in the Classical era. While double reeded instruments like the oboe and bassoon became somewhat standardised in the Baroque, the clarinet family of single reeds wasn't widely used until Mozart expanded its role in orchestral, chamber, and concerto settings.
Romantic era music
The music of the Romantic era, from roughly the first decade of the nineteenth century to the early twentieth century, was characterised by increased attention to an extended melodic line, as well as expressive and emotional elements, paralleling romanticism in additional art forms. Musical forms began to break from the Classical era forms (even as those were being codified), with free-form pieces like nocturnes , fantasias , and preludes being written where accepted ideas about the exposition and development of themes were ignored or minimized. The music became more chromatic, dissonant, and tonally colorful, with tensions (with respect to accepted norms of the older forms) about key signatures increasing. The art song (or Lied ) came to maturity in this era, as did the epic scales of grand opera , ultimately transcended by Richard Wagner 's Ring cycle .
In the nineteenth century, musical institutions emerged from the control of wealthy patrons, as composers and musicians could construct lives independent of the nobility. Increasing interest in music by the growing middle classes throughout western Europe spurred the creation of organisations for the teaching, performance, and preservation of music. The piano, which achieved its modern construction in this era (in part due to industrial advances in metallurgy ) became widely popular with the middle class, whose demands for the instrument spurred a large number of piano builders. Many symphony orchestras date their founding to this era. Some musicians and composers were the stars of the day; some, like Franz Liszt and Niccolò Paganini , fulfilled both roles.
The family of instruments used, especially in orchestras, grew. A wider array of percussion instruments began to appear. Brass instruments took on larger roles, as the introduction of rotary valves made it possible for them to play a wider range of notes. The size of the orchestra (typically around 40 in the Classical era) grew to be over 100. Gustav Mahler 's 1906 Symphony No. 8 , for example, has been performed with over 150 instrumentalists and choirs of over 400.
European cultural ideas and institutions began to follow colonial expansion into additional parts of the world. There was additionally a rise, especially toward the end of the era, of nationalism in music (echoing, in a few cases, political sentiments of the time), as composers like Edvard Grieg , Nikolai Rimsky-Korsakov , and Antonín Dvořák echoed traditional music of their homelands in their compositions.
20th and twenty-first centuries
Modern, high modern, and post modern or contemporary music
Encompassing a wide variety of post-Romantic styles composed through the year 2000, twentieth century classical music includes late romantic, modern, high-modern, and postmodern styles of composition. Modernism (1890–1930) marked an era when a large number of composers rejected certain values of the common practise period, like traditional tonality, melody, instrumentation, and structure. The high-modern era saw the emergence of neo-classical and serial music . A few authorities have claimed high-modernism as the beginning of postmodern music from about 1930. Others have more or less equated postmodern music with the "contemporary music" composed from the late twentieth century through to the early twenty-first century.
Timeline of composers
Almost all of the composers who're described in music textbooks on classical music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practises and attitudes that have led to the exclusion of women composers from the received ' canon ' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; after women composers didn't write a large number of symphonies, they were deemed to be not notable as composers. In the "... Concise Oxford History of Music , Clara Shumann [ sic ] is one of the only [ sic ] female composers mentioned."  Abbey Philips states that "[d]uring the twentieth century the women who were composing/playing gained far less attention than their male counterparts." 
Significance of written notation
Modernist view of the significance of the score
The modernist views hold that classical music is considered primarily a written musical tradition, preserved in music notation , as opposed to being transmitted orally, by rote, or by recordings of particular performances. While there are differences between particular performances of a classical work, a piece of classical music is generally held to transcend any interpretation of it. The use of musical notation is an effective method for transmitting classical music, after the written music contains the technical instructions for performing the work.
The written score , however, doesn't most of the time contain explicit instructions as to how to interpret the piece in terms of production or performance, apart from directions for dynamics , tempo and expression (to a certain extent). This is left to the discretion of the performers, who're guided by their personal experience and musical education, their knowledge of the work's idiom, their personal artistic tastes, and the accumulated body of historic performance practices.
Criticism of the modernist view
Some critics express the opinion that it is only from the mid-19th century, and especially in the twentieth century, that the score began to hold such a high significance. Previously, improvisation (in preludes, cadenzas and ornaments), rhythmic flexibility (e.g., tempo rubato ), improvisatory deviation from the score and oral tradition of playing was integral to the style. Yet in the twentieth century, this oral tradition and passing on of stylistic features within classical music disappeared. Instead, musicians tend to use just the score to play music. Yet, even with the score providing the key elements of the music, there's considerable controversy about how to perform the works. Some of this controversy relates to the fact that this score-centric approach has led to performances that emphasise metrically strict block-rhythms (just as the music is notated in the score).
Some quotes that highlight this criticism of modernist overvaluing of the score:
- "... one of the most stubborn modern misconceptions concerning baroque music is that a metronomic regularity was intended" (Baroque Interpretation in Grove fifth edition by Robert Donington )
- "The history of this particular idea is littered with dead ends and failed projects. It is high time these misconceptions are addressed with academic rigour." History of Metaphysics by Andrew Pyle
- "Too a large number of teachers, conditioned to twentieth Century ideas, teach Bach and additional Baroque music exactly the wrong way. This leads to what musicologist Sol Babitz calls 'sewing machine Bach'." 
- "... tendency to look alike, sound alike and think alike. The conservatories are at fault and they have been at fault for a large number of years now. Any sensitive musician going around the World has noted the same thing. The conservatories, from Moscow and Leningrad to Juilliard, Curtis and Indiana, are producing a standardised product.
[...] clarity, undeviating rhythm, easy technique, 'musicianship'. I put the word musicianship in quotes, because as most often as not, it is a false kind of musicianship – a musicianship that sees the tree and not the forest, that takes care of the detail but ignores the big picture; a musicianship that's tied to the printed note rather than to emotional meaning of a piece.
The fact remains that there's a dreadful uniformity today and additionally an appalling lack of knowledge about the culture and performance traditions of the past." ("Music Schools Turning out Robots?"  by Harold C. Schonberg )
Improvisation once played an important role in classical music. A remnant of this improvisatory tradition in classical music can be heard in the cadenza , a passage found mostly in concertos and solo works, designed to allow skilled performers to exhibit their virtuoso skills on the instrument. Traditionally this was improvised by the performer; however, it is most often written for (or occasionally by) the performer beforehand. Improvisation is additionally an important aspect in authentic performances of operas of Baroque era and of bel canto (especially operas of Vincenzo Bellini ), and is best exemplified by the da capo aria , a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills ' complex, albeit pre-written, variation of Da tempeste il legno infranto from Händel's Giulio Cesare .
Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realises in detail the original intentions of the composer. Throughout the nineteenth century the details that composers put in their scores generally increased. Yet the opposite trend—admiration of performers for new "interpretations" of the composer's work—can be seen, and it isn't unknown for a composer to praise a performer for achieving a better realisation of the original intent than the composer was able to imagine. Thus, classical performers most often achieve high reputations for their musicianship, even if they don't compose themselves. Generally however, it is the composers who're remembered more than the performers.
The primacy of the composer's written score has additionally led, today, to a relatively minor role played by improvisation in classical music, in sharp contrast to the practise of musicians who lived throughout the baroque, classical and romantic era. Improvisation in classical music performance was common throughout both the Baroque and early romantic eras, yet lessened strongly throughout the second half of the nineteenth and in the twentieth centuries. Throughout the classical era, Mozart and Beethoven most often improvised the cadenzas to their piano concertos (and thereby encouraged others to do so), but they additionally provided written cadenzas for use by additional soloists. In opera, the practise of singing strictly by the score, i.e. come scritto , was famously propagated by soprano Maria Callas , who called this practise 'straitjacketing' and implied that it allows the intention of the composer to be understood better, especially throughout studying the music for the first time.
Relationship to additional music traditions
Classical music has most often incorporated elements or material from popular music of the composer's time. Examples include occasional music like Brahms' use of student drinking songs in his Academic Festival Overture , genres exemplified by Kurt Weill 's The Threepenny Opera , and the influence of jazz on early- and mid-20th-century composers including Maurice Ravel , exemplified by the movement entitled "Blues" in his sonata for violin and piano. Certain postmodern , minimalist and postminimalist classical composers acknowledge a debt to popular music.
Numerous examples show influence in the opposite direction, including popular songs based on classical music, the use to which Pachelbel's Canon has been put after the 1970s, and the musical crossover phenomenon, where classical musicians have achieved success in the popular music arena. In heavy metal , a number of lead guitarists (playing electric guitar ) modelled their playing styles on Baroque or Classical era instrumental music, including Ritchie Blackmore and Randy Rhoads .
Composers of classical music have most often made use of folk music (music created by musicians who're commonly not classically trained, most often from a purely oral tradition). Some composers, like Dvořák and Smetana , have used folk themes to impart a nationalist flavour to their work, while others like Bartók have used specific themes lifted whole from their folk-music origins.
Certain staples of classical music are most often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become clichéd , particularly the opening of Richard Strauss ' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey ) and the opening section "O Fortuna" of Carl Orff 's Carmina Burana , most often used in the horror genre; additional examples include the Dies Irae from the Verdi Requiem, Edvard Grieg 's In the Hall of the Mountain King from Peer Gynt , the opening bars of Beethoven 's Symphony No. 5 , Wagner 's Ride of the Valkyries from Die Walküre , Rimsky-Korsakov 's Flight of the Bumblebee , and excerpts of Aaron Copland 's Rodeo .
Several works from the Golden Age of Animation matched the action to classical music. Notable examples are Walt Disney 's Fantasia , Tom and Jerry 's Johann Mouse , and Warner Bros. ' Rabbit of Seville and What's Opera, Doc? .
Similarly, movies and television most often revert to standard, clichéd snatches of classical music to convey refinement or opulence: a few of the most-often heard pieces in this category include Bach ´s Cello Suite No. 1 , Mozart 's Eine kleine Nachtmusik , Vivaldi 's Four Seasons , Mussorgsky 's Night on Bald Mountain (as orchestrated by Rimsky-Korsakov), and Rossini 's William Tell Overture . The same passages are most often used by telephone call centres to induce a sense of calm in customers waiting in a queue.
Shawn Vancour argues that the commercialization of classical music in the early twentieth century served to harm the music industry through inadequate representation. 
During the 1990s, several research papers and popular books wrote on what came to be called the " Mozart effect ": an observed temporary, small elevation of scores on certain tests as a consequence of listening to Mozart's works. The approach has been popularised in a book by Don Campbell, and is based on an experiment published in Nature suggesting that listening to Mozart temporarily boosted students' IQ by 8 to 9 points.  This popularised version of the theory was expressed succinctly by the New York Times music columnist Alex Ross : "researchers... have determined that listening to Mozart actually makes you smarter."  Promoters marketed CDs claimed to induce the effect. Florida passed a law requiring toddlers in state-run schools to listen to classical music every day, and in 1998 the governor of Georgia budgeted $105,000 per year to provide every child born in Georgia with a tape or CD of classical music. One of the co-authors of the original studies of the Mozart effect commented "I don't think it can hurt. I'm all for exposing children to wonderful cultural experiences. But I do think the money can be better spent on music education programs." 
In 1996–1997, a research study was conducted on a large population of middle age students in the Cherry Creek School District in Denver, Colorado, USA. The study showed that students who actively listen to classical music before studying had higher academic scores. The research further indicated that students who listened to the music prior to an examination additionally had positively elevated achievement scores. Students who listened to rock-and-roll or country had moderately lower scores. The study further indicated that students who used classical throughout the course of study had a significant leap in their academic performance; whereas, those who listened to additional types of music had significantly lowered academic scores. The research was conducted over several schools within the Cherry Creek School District and was conducted through University of Colorado. This study is reflective of several recent studies (i.e. Mike Manthei and Steve N. Kelly of the University of Nebraska at Omaha; Donald A. Hodges and Debra S. O'Connell of the University of North Carolina at Greensboro; etc.) and others who had significant results through the discourse of their work.