Question: What type of audition are expected to eliminator gender or racial prejudice?

Answer: '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." <hl> 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." <hl>

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 <hl> 'blind' auditions <hl>, 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."

A 2014 BBC article stated that the "...introduction of <hl> 'blind' auditions <hl> , 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."

question: What type of audition are expected to eliminator gender or racial prejudice?, context: 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."


Question: In what section of the New York Philharmonic do women outnumber men?

Answer: violin

<hl> 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." <hl> 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."

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 <hl> violin <hl> 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."

question: In what section of the New York Philharmonic do women outnumber men?, context: 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."


Question: Works of classical repertoire exhibit what in their use of orchestration and harmony, and form?

Answer: complexity

<hl> Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. <hl> Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.

Works of classical repertoire often exhibit <hl> complexity <hl> in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.

question: Works of classical repertoire exhibit what in their use of orchestration and harmony, and form?, context: Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.


Question: What is usually written in song forms?

Answer: popular styles

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. <hl> Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera. <hl>

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most <hl> popular styles <hl> are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.

question: What is usually written in song forms?, context: Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.


Question: The concerto, symphony, sonata and opera are examples of what type of musical forms?

Answer: sophisticated

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. <hl> Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera. <hl>

Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly <hl> sophisticated <hl> musical forms, like the concerto, symphony, sonata, and opera.

question: The concerto, symphony, sonata and opera are examples of what type of musical forms?, context: Works of classical repertoire often exhibit complexity in their use of orchestration, counterpoint, harmony, musical development, rhythm, phrasing, texture, and form. Whereas most popular styles are usually written in song forms, classical music is noted for its development of highly sophisticated musical forms, like the concerto, symphony, sonata, and opera.


Question: What are self-contained pieces in longer works called?

Answer: movements

<hl> Longer works are often divided into self-contained pieces, called movements , often with contrasting characters or moods. <hl> For instance, symphonies written during the Classical period are usually 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.

Longer works are often divided into self-contained pieces, called <hl> movements <hl>, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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.

Longer works are often divided into self-contained pieces, called <hl> movements <hl> , often with contrasting characters or moods.

question: What are self-contained pieces in longer works called?, context: Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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.


Question: How many movements are symphonies written in the Classical period usually divided into?

Answer: four

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. <hl> For instance, symphonies written during the Classical period are usually 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. <hl> These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into <hl> four <hl> 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.

question: How many movements are symphonies written in the Classical period usually divided into?, context: Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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.


Question: What, typically, is the speed of the second movement in a classical piece?

Answer: slow

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. <hl> For instance, symphonies written during the Classical period are usually 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. <hl> These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into four movements: (1) an opening Allegro in sonata form, (2) a <hl> slow <hl> 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.

question: What, typically, is the speed of the second movement in a classical piece?, context: Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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.


Question: A movement broken up further is called what?

Answer: sections

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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. <hl> These movements can then be further broken down into a hierarchy of smaller units: first sections , then periods, and finally phrases. <hl>

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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 <hl> sections <hl>, then periods, and finally phrases.

These movements can then be further broken down into a hierarchy of smaller units: first <hl> sections <hl> , then periods, and finally phrases.

question: A movement broken up further is called what?, context: Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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.


Question: The final movement of a classical piece is usually called what?

Answer: Allegro

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. <hl> For instance, symphonies written during the Classical period are usually 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. <hl> These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually divided into four movements: (1) an opening <hl> Allegro <hl> 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.

question: The final movement of a classical piece is usually called what?, context: Longer works are often divided into self-contained pieces, called movements, often with contrasting characters or moods. For instance, symphonies written during the Classical period are usually 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.


Question: What period was from 500-1400?

Answer: Medieval

<hl> 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 practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. <hl> 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 characterized by a continuation of the contemporary/postmodern musical era.

The major time divisions of classical music up to 1900 are the early music period, which includes <hl> Medieval <hl> (500–1400) and Renaissance (1400–1600) eras, and the Common practice 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 characterized by a continuation of the contemporary/postmodern musical era.

question: What period was from 500-1400?, context: 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 practice 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 characterized by a continuation of the contemporary/postmodern musical era.


Question: What years dictate the Baroque period?

Answer: 1600–1750

<hl> 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 practice period, which includes the Baroque ( 1600–1750 ), Classical (1750–1830) and Romantic (1804–1910) eras. <hl> 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 characterized by a continuation of the contemporary/postmodern musical era.

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 practice period, which includes the Baroque (<hl> 1600–1750 <hl>), 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 characterized by a continuation of the contemporary/postmodern musical era.

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 practice period, which includes the Baroque ( <hl> 1600–1750 <hl> ), Classical (1750–1830) and Romantic (1804–1910) eras.

question: What years dictate the Baroque period?, context: 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 practice 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 characterized by a continuation of the contemporary/postmodern musical era.


Question: How have periods been reckoned Since 1900?

Answer: by calendar century

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 practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. <hl> Since 1900, classical periods have been reckoned more by calendar century than by particular stylistic movements that have become fragmented and difficult to define. <hl> 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 characterized by a continuation of the contemporary/postmodern musical era.

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 practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. Since 1900, classical periods have been reckoned more <hl> by calendar century <hl> 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 characterized by a continuation of the contemporary/postmodern musical era.

question: How have periods been reckoned Since 1900?, context: 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 practice 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 characterized by a continuation of the contemporary/postmodern musical era.


Question: What era has the 21st century has been characterized by?

Answer: the contemporary/postmodern musical era

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 practice 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). <hl> The 21st century has so far been characterized by a continuation of the contemporary/postmodern musical era . <hl>

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 practice 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 characterized by a continuation of <hl> the contemporary/postmodern musical era <hl>.

The 21st century has so far been characterized by a continuation of <hl> the contemporary/postmodern musical era <hl> .

question: What era has the 21st century has been characterized by?, context: 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 practice 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 characterized by a continuation of the contemporary/postmodern musical era.


Question: The years 1804-1910 marked what era?

Answer: Romantic

<hl> 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 practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and Romantic (1804–1910) eras. <hl> 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 characterized by a continuation of the contemporary/postmodern musical era.

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 practice period, which includes the Baroque (1600–1750), Classical (1750–1830) and <hl> Romantic <hl> (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 characterized by a continuation of the contemporary/postmodern musical era.

question: The years 1804-1910 marked what era?, context: 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 practice 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 characterized by a continuation of the contemporary/postmodern musical era.


Question: What composer continued the counterpoint and fugue?

Answer: Haydn

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". <hl> For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn , who is classified as typical of the Classical era. <hl> Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 <hl> Haydn <hl>, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by <hl> Haydn <hl> , who is classified as typical of the Classical era.

question: What composer continued the counterpoint and fugue?, context: The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.


Question: Haydn is classified as typical of what era?

Answer: Classical

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". <hl> For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn, who is classified as typical of the Classical era. <hl> Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the <hl> Classical <hl> era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

question: Haydn is classified as typical of what era?, context: The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.


Question: Who is described as a founder of the Romantic era?

Answer: Beethoven

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. <hl> Beethoven , who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era. <hl>

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. <hl> Beethoven <hl>, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

<hl> Beethoven <hl> , who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

question: Who is described as a founder of the Romantic era?, context: The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.


Question: Who is classified as Romantic, but also uses counterpoint and fugue?

Answer: Brahms

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. <hl> Beethoven, who is often described as a founder of the Romantic era, and Brahms , who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era. <hl>

The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and <hl> Brahms <hl>, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

Beethoven, who is often described as a founder of the Romantic era, and <hl> Brahms <hl> , who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

question: Who is classified as Romantic, but also uses counterpoint and fugue?, context: The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.


Question: Some authorities reverse terminologies to refer to the common practice period as a what?

Answer: era

<hl> The dates are gen era lizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods". <hl> For example, the use of counterpoint and fugue, which is considered characteristic of the Baroque era (or period), was continued by Haydn, who is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

The dates are gen<hl> era <hl>lizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.

The dates are gen <hl> era <hl> lizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "era" comprising baroque, classical, and romantic "periods".

question: Some authorities reverse terminologies to refer to the common practice period as a what?, context: The dates are generalizations, since the periods and eras overlap and the categories are somewhat arbitrary, to the point that some authorities reverse terminologies and refer to a common practice "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 is classified as typical of the Classical era. Beethoven, who is often described as a founder of the Romantic era, and Brahms, who is classified as Romantic, also used counterpoint and fugue, but other characteristics of their music define their era.


Question: A Contemporary composition written in the style of an earlier era is described with what prefix?

Answer: neo

<hl> The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. <hl> Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

The prefix <hl> neo <hl> is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

question: A Contemporary composition written in the style of an earlier era is described with what prefix?, context: The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.


Question: What century were Neoclassical compositions written in?

Answer: 20th-century

<hl> The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. <hl> Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

The prefix neo is used to describe a <hl> 20th-century <hl> or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

question: What century were Neoclassical compositions written in?, context: The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.


Question: Who wrote Pulcinella?

Answer: Stravinsky's

The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. <hl> Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era. <hl>

The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. <hl> Stravinsky's <hl> Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

question: Who wrote Pulcinella?, context: The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.


Question: What era is Pulcinella similar to?

Answer: Classical

<hl> The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. <hl> Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as <hl> Classical <hl> or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.

question: What era is Pulcinella similar to?, context: The prefix neo is used to describe a 20th-century or contemporary composition written in the style of an earlier era, such as Classical or Romantic. Stravinsky's Pulcinella, for example, is a neoclassical composition because it is stylistically similar to works of the Classical era.


Question: When does the Egyptian orchestra date to?

Answer: 2695 BC

<hl> 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 . <hl> This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

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 <hl> 2695 BC <hl>. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

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 <hl> 2695 BC <hl> .

question: When does the Egyptian orchestra date to?, context: 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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.


Question: Who suggested that Western classical music is rooted to ancient Egyptian art music?

Answer: Burgh

<hl> 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. <hl> This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

<hl> Burgh <hl> (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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

question: Who suggested that Western classical music is rooted to ancient Egyptian art music?, context: 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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.


Question: What music followed ancient Egyptian art music?

Answer: early Christian liturgical music,

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. <hl> This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. <hl> The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

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. This was followed by <hl> early Christian liturgical music, <hl> which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

question: What music followed ancient Egyptian art music?, context: 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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.


Question: Which ancient society developed individual tones and scales?

Answer: ancient Greeks

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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. <hl> The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. <hl> Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by <hl> ancient Greeks <hl> such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

question: Which ancient society developed individual tones and scales?, context: 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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.


Question: Who helped codify musical notation?

Answer: Pythagoras

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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. <hl> The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras . <hl> Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.

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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and <hl> Pythagoras <hl>. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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 development of individual tones and scales was made by ancient Greeks such as Aristoxenus and <hl> Pythagoras <hl> .

question: Who helped codify musical notation?, context: 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. This was followed by early Christian liturgical music, which itself dates back to the Ancient Greeks[citation needed]. The development of individual tones and scales was made by ancient Greeks such as Aristoxenus and Pythagoras. Pythagoras created a tuning system and helped to codify musical notation. Ancient Greek instruments such as 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.


Question: The Medieval period begins with the fall of what city?

Answer: Rome

<hl> The Medieval period includes music from after the fall of Rome to about 1400. <hl> Monophonic chant, also 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 Medieval period includes music from after the fall of <hl> Rome <hl> to about 1400. Monophonic chant, also 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.

question: The Medieval period begins with the fall of what city?, context: The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also 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.


Question: What can Plainsong or Gregorian chant also be called?

Answer: Monophonic chant

The Medieval period includes music from after the fall of Rome to about 1400. <hl> Monophonic chant , also called plainsong or Gregorian chant, was the dominant form until about 1100. <hl> 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 Medieval period includes music from after the fall of Rome to about 1400. <hl> Monophonic chant <hl>, also 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.

<hl> Monophonic chant <hl> , also called plainsong or Gregorian chant, was the dominant form until about 1100.

question: What can Plainsong or Gregorian chant also be called?, context: The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also 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.


Question: What does Polyphonic mean?

Answer: multi-voiced

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100. <hl> Polyphonic ( multi-voiced ) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets. <hl>

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100. Polyphonic (<hl> multi-voiced <hl>) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets.

Polyphonic ( <hl> multi-voiced <hl> ) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets.

question: What does Polyphonic mean?, context: The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also 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.


Question: When did Monophonic chant stop being the dominant form?

Answer: 1100

The Medieval period includes music from after the fall of Rome to about 1400. <hl> Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100 . <hl> 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 Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about <hl> 1100 <hl>. Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets.

Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about <hl> 1100 <hl> .

question: When did Monophonic chant stop being the dominant form?, context: The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also 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.


Question: Polyphonic music included more complex voicing of what?

Answer: motets

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also called plainsong or Gregorian chant, was the dominant form until about 1100. <hl> Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of motets . <hl>

The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also 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 <hl> motets <hl>.

Polyphonic (multi-voiced) music developed from monophonic chant throughout the late Middle Ages and into the Renaissance, including the more complex voicings of <hl> motets <hl> .

question: Polyphonic music included more complex voicing of what?, context: The Medieval period includes music from after the fall of Rome to about 1400. Monophonic chant, also 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.


Question: When was the Renaissance era?

Answer: from 1400 to 1600

<hl> The Renaissance era was from 1400 to 1600 . <hl> It was characterized 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.

The Renaissance era was <hl> from 1400 to 1600 <hl>. It was characterized 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.

The Renaissance era was <hl> from 1400 to 1600 <hl> .

question: When was the Renaissance era?, context: The Renaissance era was from 1400 to 1600. It was characterized 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.


Question: What era was from 1400 to 1600?

Answer: Renaissance

<hl> The Renaissance era was from 1400 to 1600. <hl> It was characterized 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.

The <hl> Renaissance <hl> era was from 1400 to 1600. It was characterized 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.

question: What era was from 1400 to 1600?, context: The Renaissance era was from 1400 to 1600. It was characterized 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.


Question: The use of the first ass instruments occurred in what era?

Answer: Renaissance

<hl> The Renaissance era was from 1400 to 1600. <hl> It was characterized 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.

The <hl> Renaissance <hl> era was from 1400 to 1600. It was characterized 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.

question: The use of the first ass instruments occurred in what era?, context: The Renaissance era was from 1400 to 1600. It was characterized 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.


Question: What became widespread in the Renaissance era?

Answer: Social dancing

The Renaissance era was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. <hl> Social dancing became more widespread, so musical forms appropriate to accompanying dance began to standardize. <hl>

The Renaissance era was from 1400 to 1600. It was characterized by greater use of instrumentation, multiple interweaving melodic lines, and the use of the first bass instruments. <hl> Social dancing <hl> became more widespread, so musical forms appropriate to accompanying dance began to standardize.

question: What became widespread in the Renaissance era?, context: The Renaissance era was from 1400 to 1600. It was characterized 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.


Question: Musical forms for dance began to standardize during what era?

Answer: Renaissance

<hl> The Renaissance era was from 1400 to 1600. <hl> It was characterized 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.

The <hl> Renaissance <hl> era was from 1400 to 1600. It was characterized 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.

question: Musical forms for dance began to standardize during what era?, context: The Renaissance era was from 1400 to 1600. It was characterized 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.


Question: The notation of music on a what began to take shape at this time?

Answer: staff

<hl> It is in this time that the notation of music on a staff and other elements of musical notation began to take shape. <hl> 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

It is in this time that the notation of music on a <hl> staff <hl> and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

question: The notation of music on a what began to take shape at this time?, context: It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.


Question: How was music transmitted before the invention of musical notation?

Answer: oral

It is in this time that the notation of music on a staff and other elements of musical notation began to take shape. <hl> 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. <hl> With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

It is in this time that the notation of music on a staff and other 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 <hl> oral <hl>, and subject to change every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

This invention made possible the separation of the composition of a piece of music from its transmission; without written music, transmission was <hl> oral <hl> , and subject to change every time it was transmitted.

question: How was music transmitted before the invention of musical notation?, context: It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.


Question: What was oral music subject to every time is was transmitted?

Answer: change

It is in this time that the notation of music on a staff and other elements of musical notation began to take shape. <hl> 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. <hl> With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

It is in this time that the notation of music on a staff and other 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 <hl> change <hl> every time it was transmitted. With a musical score, a work of music could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

question: What was oral music subject to every time is was transmitted?, context: It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.


Question: What can a musical scored be performed without?

Answer: the composer's presence

It is in this time that the notation of music on a staff and other 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. <hl> With a musical score, a work of music could be performed without the composer's presence . <hl> The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

It is in this time that the notation of music on a staff and other 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 could be performed without <hl> the composer's presence <hl>. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.

With a musical score, a work of music could be performed without <hl> the composer's presence <hl> .

question: What can a musical scored be performed without?, context: It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.


Question: When was the movable-type printing press invented?

Answer: the 15th century

It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. <hl> The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music. <hl>

It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in <hl> the 15th century <hl> had far-reaching consequences on the preservation and transmission of music.

question: When was the movable-type printing press invented?, context: It is in this time that the notation of music on a staff and other 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 could be performed without the composer's presence. The invention of the movable-type printing press in the 15th century had far-reaching consequences on the preservation and transmission of music.


Question: The record is part of what wind family?

Answer: the flute family

<hl> 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. <hl> 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

Typical stringed instruments of the early period include the harp, lute, vielle, and psaltery, while wind instruments included <hl> the flute family <hl> (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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

question: The record is part of what wind family?, context: 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.


Question: The sahwm was an early family member of what instrument?

Answer: the oboe

<hl> 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. <hl> 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

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 <hl> the oboe <hl> 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

question: The sahwm was an early family member of what instrument?, context: 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.


Question: Where were the first pipe organs confined to?

Answer: churches

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. <hl> Simple pipe organs existed, but were largely confined to churches , although there were portable varieties. <hl> Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

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 <hl> churches <hl>, although there were portable varieties. Later in the period, early versions of keyboard instruments like the clavichord and harpsichord began to appear. Stringed instruments such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

Simple pipe organs existed, but were largely confined to <hl> churches <hl> , although there were portable varieties.

question: Where were the first pipe organs confined to?, context: 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.


Question: When had the viol emerged by?

Answer: the 16th century

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. <hl> Stringed instruments such as the viol had emerged by the 16th century , as had a wider variety of brass and reed instruments. <hl> Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

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 such as the viol had emerged by <hl> the 16th century <hl>, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

Stringed instruments such as the viol had emerged by <hl> the 16th century <hl> , as had a wider variety of brass and reed instruments.

question: When had the viol emerged by?, context: 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.


Question: What enabled descriptions and specification of instruments?

Answer: Printing

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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. <hl> Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use. <hl>

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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. <hl> Printing <hl> enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.

question: What enabled descriptions and specification of instruments?, context: 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 such as the viol had emerged by the 16th century, as had a wider variety of brass and reed instruments. Printing enabled the standardization of descriptions and specifications of instruments, as well as instruction in their use.


Question: When did many of the ideas that make up western classical music take shape?

Answer: The common practice period

<hl> The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. <hl> It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

<hl> The common practice period <hl> is when many 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 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

question: When did many of the ideas that make up western classical music take shape?, context: The common practice period is when many 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 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.


Question: What began with the Baroque era?

Answer: The common practice period

<hl> The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. <hl> It began with the Baroque era, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

<hl> The common practice period <hl> is when many 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 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

question: What began with the Baroque era?, context: The common practice period is when many 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 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.


Question: What era did the classical era follow?

Answer: Baroque era

The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. <hl> It began with the Baroque era , running from roughly 1600 to the middle of the 18th century. <hl> The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

The common practice period is when many of the ideas that make up western classical music took shape, standardized, or were codified. It began with the <hl> Baroque era <hl>, running from roughly 1600 to the middle of the 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.

It began with the <hl> Baroque era <hl> , running from roughly 1600 to the middle of the 18th century.

question: What era did the classical era follow?, context: The common practice period is when many 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 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.


Question: When did the classical era end?

Answer: around 1820

The common practice period is when many 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 18th century. <hl> The Classical era followed, ending roughly around 1820 . <hl> The Romantic era ran through the 19th century, ending about 1910.

The common practice period is when many 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 18th century. The Classical era followed, ending roughly <hl> around 1820 <hl>. The Romantic era ran through the 19th century, ending about 1910.

The Classical era followed, ending roughly <hl> around 1820 <hl> .

question: When did the classical era end?, context: The common practice period is when many 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 18th century. The Classical era followed, ending roughly around 1820. The Romantic era ran through the 19th century, ending about 1910.