It is the latter fact that led to the prominence of solo performances, where an artist could bask in the glory of his talent before audiences. Overall, one may say that the music of the classical era was lighter and less dramatic than that of other times and had a homophonic combination in which the melody got more primacy over the choral part of the piece. This style opposed excessive seriousness and too much reliance on grandeur as was the case in Baroque music. For this reason, composers had to depend on variety or contrast to bring out the best in their work; rhythms, melodies, and keys were the instruments used to create those contrasts and so were timbre and mood.
Phrases were quite clear-cut in this era and most artists preferred to keep them short while their piano music was quite powerful and audible. Many in the era paid special attention to instrumental music and were highly concerned with the symphony, trio, string quartet, sonata, concerto as well as the Serenade (Walton 166). This era rejected Baroque influences owing to its emphasis on dramatic outcomes; this was partly because Baroque era performers used to work for institutions like the church that required the compositions to support actual singing.
Instruments like piano were not that important owing to the prominence given to operatic singers, so Baroque artists tended to play more string instruments. Performers in the classical era did not see the need to focus on those performances and this is why the sonata became one of the most prominent features of the work. In essence, music was categorized as classical if it had the cherished qualities of both beauties as well as purity. As stated in the earlier segments of the paper, Baroque artists used to perform for a select audience that often dictated the kind of tunes they could play; however, the classical era that coincided with the enlightenment age was more individualistic in character.
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