Medieval (c.1150 - c.1400)
This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded. The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades etc.), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis.
Gregorian chant and plainsong which are monodic (i.e. written as one musical line) gradually developed during the 11th to 13th centuries into organum (i.e. two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony). Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut, and Landini.
Recommended Recording:
Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana
Naxos 8.550711
Renaissance (c.1400 - c.1600)
The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated parts). Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words.
There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis. The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay.
The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of 'classical' music. Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'.
This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age. In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc.). Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria, Lassus, Lobo, Cardoso and Gesualdo.
歷史上的古典音樂
Medieval (c.1150 - c.1400) 中世紀（ c.1150 -c .1400）
This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded.這是第壹期，我們已可開始得到相當肯定至於如何了大量的音樂，其中已存活實際上響起。 The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades etc.), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis.最早寫世俗音樂的日期從12世紀troubadours （形式virelais ， estampies ， ballades等） ，但大多數人notated手稿來自地方的學習通常是與教會，因此，不可避免地有壹個以宗教為基礎。
Gregorian chant and plainsong which are monodic (i.e. written as one musical line) gradually developed during the 11th to 13th centuries into organum (i.e. two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony).格裏高利高唱和plainsong是monodic （即筆試和壹所音樂系） ，逐步發展，在11日至十三世紀到organum （即兩個或三個動線，同時但獨立的，所以幾乎在不經意代表的開端和諧） 。 Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut , and Landini . organum不過，當時的初期，而不是扼殺剛性規則的旋律和節奏，從而導致最終的目的是要以所謂人工魚礁新的時期， 14世紀，主要是由作曲家德vitry ， 馬豪 ， landini 。
Recommended Recording: 推薦唱片：
Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana adorate deum ：陽歷高唱從適當的大眾新schola gregoriana
Naxos 8.550711 商Naxos 8.550711
Renaissance (c.1400 - c.1600) 文藝復興（ c.1400 -c .1600）
The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated parts). 15世紀見證了大大增加了自由，最特別是在什麽樣的，其實是被視為'和諧'和'復調' （同步運動的兩個或三個相互聯系的部分） 。 Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words.作曲家（雖然他們都是勉強的感覺是這樣的）仍在幾乎完全致力於合唱寫作，少數樂器組成，其中有存活往往造成壹種印象， （在許多情況下完全準確）的正聲樂作品在喬裝打扮，但減去的話。
There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis.有明顯的新喜悅，在質地品種和反差，因此，舉例來說，某壹特定文本中的壹段可能得到加強聲樂部分輟學的瞬間，只有回到壹個多星期，又特殊的時刻重視。 The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay.四個最有影響力的作曲家15世紀被dunstable ， ockeghem ， Despres ）雖然與杜費。
The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of 'classical' music.下半年， 16世紀見證了開端的傳統，其中許多音樂愛好者很容易聯想與正常的感覺'經典'的音樂。 Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'.漸漸地，作曲家遷離模態系統的和諧，其中占主導地位，為300多年前（和現在聽起來有點過時的壹些現代耳） ，對組織，其工作分為主要和次要的鱗片，從而傳授強烈的感覺：每塊有明確音調中心或'關鍵' 。
This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age.這也是東西的壹個黃金時期，合唱組成似乎永無休止的流壹capella （舉目無親）群眾， motets ，國歌，聖歌和madrigals流到從鋼筆的主人的年齡。 In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc.).此外，器樂開始自成體系，為第壹次，特別是鍵盤音樂的形式fantasias ，變異，舞蹈動作（ galliards ， pavanes等） 。 Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria, Lassus, Lobo, Cardoso and Gesualdo.作曲家特別值得註意的包括道蘭，合唱團，伯德，長臂猿，弗雷斯科巴爾迪， palestrina ，維多利亞， lassus ，羅保後，卡多佐和gesualdo 。
Recommended Recording: 推薦唱片：
Byrd: Mass for Four Voices; Mass for Five Voices; Infelix ego伯德：質量為四個聲音;大規模五聲音; infelix自我
Naxos 8.550574 商Naxos 8.550574
Palestrina: Missa Papae Marcelli; Missa aeterna Christi munera palestrina ：彌撒曲" papae marcelli ;彌撒曲"依特鈉基督教munera
Naxos 8.550573 商Naxos 8.550573
Palestrina: Missa hodie Christus natus est; Hodie Christus natus est; Stabat mater / Lassus: Missa bell' amfitrit' altera palestrina ：彌撒曲"為今天基督natus預測;遭受今天基督natus預測; stabat材料/ lassus ：彌撒曲"鐘' amfitrit ' Altera公司
Naxos 8.550836 商Naxos 8.550836
Victoria: Missa O magnum mysterium; Missa O quam gloriosum / A. Lobo: Versa est in luctum維多利亞：彌撒曲" o馬格蘭神秘;彌撒曲" o怎麽gloriosum /甲羅保：反之亦然預測在luctum
Naxos 8.550575 商Naxos 8.550575
Lobo: Missa pro defunctis / Cardoso: Missa pro defunctis羅保：彌撒曲"親defunctis /卡多佐：彌撒曲"親defunctis
Naxos 8.550682 商Naxos 8.550682
Lamentations悲嘆
Music by Tallis, White, Palestrina, Lassus and de Brito音樂由合唱團，白， palestrina ， lassus和德布裏托
Naxos 8.550572 商Naxos 8.550572
Lassus: Missa super entre vous; Infelix ego; Missa imitationem moduli susanne un tour lassus ：彌撒曲"超級登入vous ; infelix自我;彌撒曲" imitationem模蘇珊聯合國之旅
Naxos 8.550842 商Naxos 8.550842
Tallis: Mass for Four Voices; Motets塔利斯：質量為四個聲音; motets
Naxos 8.550576 商Naxos 8.550576
Gesualdo: Sacred Music for Five Voices (Complete) gesualdo ：神聖的音樂為五聲音（完整）
Naxos 8.550742 商Naxos 8.550742
Baroque (c.1600 - c.1750) 巴洛克（ c.1600 -c .1750）
During the Baroque period, the foundations were laid for the following 300 or so years of musical expression: the idea of the modern orchestra was born, along with opera (including the overture, prelude, aria, recitative and chorus), the concerto, sonata, and modern cantata.在巴洛克時代，奠定了基礎，為下列300年或稍後的音樂表現：構思現代樂團誕生了，隨著戲曲（包括序曲，前奏曲，詠嘆調， recitative和合唱團） ，協奏曲，奏鳴曲和現代的大合唱。 The rather soft-grained viol string family of the Renaissance was gradually replaced by the bolder violin, viola and cello, the harpsichord was invented, and important advances were made in all instrumental groups.該比較軟晶侵犯。弦樂家族的文藝復興逐漸取代了大膽的小提琴，中提琴和大提琴，古鍵琴的發明，並取得了重大進展，在所有的樂器組。
Until about 1700, the old modes still exerted themselves from time to time by colouring certain melodic lines or chord progressions, but from the beginning of the 18th century the modern harmonic system based upon the major and minor scales was effectively pan-European.直到大約1700年舊模式仍在竭力不時由填色某些旋律線或弦級數，但是，從十八世紀初，現代諧系統後，主要和次要的尺度是有效的泛歐洲。 Choral music no longer dominated, and as composers turned more and more to writing idiomatic instrumental works for ensembles of increasing colour and variety, so 'classical' music (as opposed to 'popular') gradually began to work its way into the very fabric of society, being played outdoors at dinner parties or special functions (e.g. Handel's Water Music), or as a spectacle in the form of opera.合唱音樂已不再占主導地位，並作為作曲家把越來越多的寫作成語器樂作品為合奏增加顏色和品種，使'古典音樂（有別於'受歡迎' ）逐漸開始工作地滲透到結構社會中，正在發揮在室外宴會場合或特殊功能（如： （ Handel的水上音樂） ，或作為壹個奇觀，在形式的歌劇。 On a purely domestic level, every wealthy lady would have a spinet to play, and at meal-times the large and rich houses would employ musicians to play what was popularly called Tafelmusik in Germany, of which Telemann was perhaps the most famous composer.對純粹的國內層面，每壹個有錢的夫人將有spinet發揮，並在飯後倍大國和富國房子將聘請音樂家，以發揮什麽深受所謂tafelmusik在德國，其中telemann也許是最有名的作曲家。
Of the many 17th century composers who paved the way for this popular explosion of 'classical' music, the following were outstanding: Monteverdi , Corelli , Alessandro Scarlatti, Schutz, Buxtehude, Purcell and Lully.在眾多的17世紀作曲家的人鋪平了道路，為這個熱門爆炸的'古典音樂，有以下幾個懸而未決： 蒙特威爾第 ， corelli ，亞歷山德羅斯卡拉蒂，舒茨， buxtehude ，裴熙亮和lully 。 Yet, the most popular composers of the period, indeed those who seem to define by their very names the sound of Baroque music at its most colourful and sophisticated are Johann Sebastian Bach, Handel, Telemann, Rameau, Fran?ois Couperin , Domenico Scarlatti, and Vivaldi, all of them at their creative peak during the first half of the 18th century.不過，最受歡迎的作曲家此期間，有些人似乎界定，以他們名字的聲音巴洛克音樂在其最多姿多彩和精密的是約翰塞巴斯蒂安巴赫， （ Handel ， telemann ，拉摩， 弗朗索瓦couperin ， （ Domenico斯卡拉蒂，韋華，他們都在自己的創作高峰期在上半年的18世紀。
Classical (c.1750 - c.1830) 古典（ c.1750 -c .1830）
The Baroque era witnessed the creation of a number of musical genres which would maintain a hold on composition for years to come, yet it was the Classical period which saw the introduction of a form which has dominated instrumental composition to the present day: sonata form.巴洛克時代的見證設立了許多音樂流派，其中將維持持有組合今後幾年，但它是古典時期，其中看到了開征某種形式，其中有樂器為主組成的，以本日：奏鳴曲形式。 With it came the development of the modern concerto, symphony, sonata, trio and quartet to a new peak of structural and expressive refinement.與它來發展現代協奏曲，交響曲，奏鳴曲，三重奏及四重奏，以壹個新的高峰結構性和表現力細化。 If Baroque music is notable for its textural intricacy, then the Classical period is characterised by a near-obsession with structural clarity.如果巴洛克音樂是顯著，其構造復雜性，那麽，古典時期的特點是壹個近癡迷結構清晰。
The seeds of the Classical age were sown by a number of composers whose names are now largely forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well as more historically respected names, including Gluck, Boccherini and at least three of Johann Sebastian Bach's sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the so-called 'London' Bach).種子的古典時代播下了由多個作曲家的名字，現在基本上被遺忘，如朔貝特和honnauer （均德國人，主要活躍於巴黎） ，以及更尊重歷史地名，包括格魯克， boccherini和至少3名約翰塞巴斯蒂安巴赫的兒子：卡爾菲利普靈光，威廉弗裏德曼和約翰基督教（即所謂『倫敦』巴赫） 。 They were representative of a period which is variously described as rococo or galante, the former implying a gradual move away from the artifice of the High Baroque, the latter an entirely novel style based on symmetry and sensibility, which came to dominate the music of the latter half of the 18th century through two composers of extraordinary significance: Joseph Haydn and Wolfgang Amadeus Mozart .他們分別代表的壹個時期，這是各種形容為洛可可或加蘭特，前者暗示逐漸遷離從手腕的高級巴洛克式，而後者是壹個完全新穎的風格基礎上的對稱性和感性，來主宰音樂的下半年， 18世紀兩個作曲家有著非同尋常的意義： 約瑟夫海頓和沃爾夫岡Amadeus的莫紮特 。
Early Romantic (c.1830 - c.1860) 早期浪漫（ c.1830 -c .1860）
As the Classical period reached its zenith, it was becoming increasing clear (especially with the late works of Beethoven and Schubert) that the amount and intensity of expression composers were seeking to achieve was beginning to go beyond that which a Classically sized/designed orchestra/piano could possibly encompass.作為古典時期達到了頂點，它正在變得越來越清晰（尤其是與已故的作品， 貝多芬和舒伯特）的數量和強度的表達作曲家正在謀求實現正開始超越了那些經典大中/設計樂團/鋼琴可能不同。 The next period in musical history therefore found composers attempting to balance the expressive and the formal in music with a variety of approaches which would have left composers of any previous age utterly bewildered.今後壹個時期，在音樂史，因此發現作曲家企圖以平衡表現力和正規的音樂與不同的途徑，將已離開的作曲家以往任何時代完全莫名其妙。 As the musical map opened up, with nationalist schools beginning to emerge, it was the search for originality and individuality of expression which began here that was to become such an over-riding obsession in the present century.作為音樂地圖打開了，與民族主義者所學校開始出現，這是搜索的原創性與個性的表達，開始在這裏表示，要成為這樣壹種壓倒壹切的癡迷，在本世紀。
The Romantic era was the golden age of the virtuoso, where the most fiendishly difficult music would be performed with nonchalant ease, and the most innocuous theme in a composition would be developed at great length for the enjoyment of the adoring audience.浪漫時代是黃金時代的能人，哪裏最困難fiendishly音樂，將演出滿不在乎的緩和，最無害的主題，在壹個組合，將發展在很大篇幅為享受的崇拜觀眾。 The emotional range of music during this period was considerably widened, as was its harmonic vocabulary and the range and number of instruments which might be called upon to play it.情緒各類音樂，在此期間被大大拓寬，正如其諧波詞匯及範圍和文書的數目可能被要求發揮它。 Music often had a 'programme' or story-line attached to it, sometimes of a tragic or despairing nature, occasionally representing such natural phenomena as rivers or galloping horses.音樂往往有壹種'計劃'或故事，在網上重視它，有時壹個悲劇性或絕望的性質，偶爾代表這種自然現象的河流或舞動的馬匹。 The next hundred years would find composers either embracing whole-heartedly the ideals of Romanticism, or in some way reacting against them.未來壹百年會發現作曲家要麽擁抱衷心理想的浪漫主義，或以某種方式作出反應，對他們的。
Of the early Romantic composers, two Nationalists deserve special mention, the Russian Glinka (of Russlan and Ludmilla fame) and the Bohemian Smetana (composer of the popular symphonic poem Vltava or 'The Moldau').對早期浪漫主義作曲家，兩個民族主義者特別值得壹提，俄羅斯葛令卡（ russlan和ludmilla名利）和波希米亞美塔納 （作曲家壹項十分受歡迎的交響詩爾塔瓦或' moldau ' ） 。 However, the six leading composers of the age were undoubtedly Berlioz , Chopin , Mendelssohn , Schumann , Liszt and Verdi .然而， 6名領導作曲家的年齡無疑是柏遼茲 ， 肖邦 ， 門德爾松 ， 舒曼 ， 李斯特和威爾第 。
Late Romantic (c.1860 - c.1920) 晚浪漫（ c.1860 -c .1920）
With the honourable exceptions of Brahms and Bruckner , composers of this period shared a general tendency towards allowing their natural inspiration free rein, often pacing their compositions more in terms of their emotional content and dramatic continuity rather than organic structural growth.與這位例外勃拉姆斯和布魯克納 ，作曲家這壹時期分擔的壹般傾向，讓他們自然的靈感放手，往往起搏其成分更在其情感內容和具有戲劇性的延續性，而不是有機的結構性增長。 This was an era highlighted by the extraordinarily rapid appearance of the national schools, and the operatic supremacy of Verdi and Wagner .這是壹個時代所強調的異常迅猛，出現了民族學校，及戲曲至高無上的威爾第和瓦格納 。 The eventual end of Romanticism came with the fragmentation of this basic style, composers joining 'schools' of composition, each with a style that was in vogue for a short period of time.最終完的浪漫主義來支離破碎這壹基本風格，作曲家加入'學校'的成分，每壹種風格，那是時尚，進行了短暫的壹段時間。
In order to do justice to a period so rich in famous names and compositions, this section is arranged alphabetically by country rather than composer.為了做到公正，壹期有這麽豐富的名牌和成分，這壹節是依英文字母排列，由國家，而不是作曲家。
Bohemia波西米亞