歌词里有一句结尾有“不要爱”三个字，请问这首歌是神马歌？各位帅GG、漂亮MM帮帮忙啊！在此先谢了！

这比较难找 看看是不是你听到的 《非卖品》— 杨千桦 《他还在等你》 — 何耀珊 《假面的告白》 — 蔡依林 《don》 — 许慧欣 《我不要你的爱》 — 我不要你的爱（歌手不明，建议在百度上找） 《我不明白》 — 花泽冰 《请你离开》 — 林智文 《寂寞时代》— 戴军 《寂寞流星群》 — 林忆莲 《满天星星一颗明》— 刘春风 《单飞》— 胡灵 《不乖》— 林宝 《悬崖》— 伍洲彤 《dont come back to me 》 — 许慧欣《告别的时代》— 苏见信（信）《爱不简单》— 许慧欣 《想要给你的》— 张峰奇 《爱情悬崖》 — 周杰伦 《浪漫时代》 — 吴浩康 《美丽的一半》 — 杨梓

这是我目前找到的所有根据你的要求所提出的歌曲，希望这些里面有你想要的。

在流行音乐创作方面，Cedric曾为多位著名歌手作曲及编曲；包括《幽灵》彭羚、《先入为主》、《浪漫时代》、《棋王》、《大人的游戏》、《迷》(吴浩康)、 《成人礼》、 《我看比利》(关志斌)、《兵捉贼》(王凯骏) 、《廿四》(陈奕迅) 、《宠物的毕业礼》(小肥)；《眼闭》(孙耀威) 、《变走她》、《眼泪无用》、《旁观者伤》** -爱情故事主题曲(江若琳)、《案发现场》(李骏宇) 等等。

Cedric亦积极参予基督教节目，包括由AMAZING PLACE举办的《敬拜马拉松》；一○年更被中文大学崇基学院邀请参予基督教文化节目，与恩师罗乃新合奏演出。此多，他亦监制多张福音专辑，当中包括齐泰萱生命的节奏、新生命事工毒海遇上爱及蒋丽萍诗。在专辑诗中亦收录由陈思捷一手包办曲词的作品《大能的手》及《谢谢祢的爱》。

歌曲名:浪漫时代

歌手:吴浩康

专辑:Deep Inside

浪漫时代

吴浩康

留恋天光道 留恋花墟路

曾去紧张灌溉

每天里 齐祷告

祈求花开看到句号

留恋中间道 留恋公园内

谁要哭不要爱

受伤过 齐修补

为何拖拉不到

山顶里 我没法被免怀念到

看景致站到这么高

望相恋可永远不倒

但离别谁亦难料到

游过浪漫时代

新世纪中盖上尘埃

你在走我在走远

渐遗忘最爱

游过浪漫时代

利园的阶级不变改

但衣服 在窗外 都转上新装

行礼到圣约翰那大门你我没法开

维园内 仍给旧日覆盖

留恋广东道 留恋海港路

还有灯饰满载

乐声里 齐倒数

为何只得单数

曾在赤柱看海不可放开

终要分手那天我在

别离后 到处胡涂乱走

游过浪漫时代

新世纪中盖上尘埃

你在走我在走远

渐缠绵不再

游过浪漫时代

利园的阶级不变改

但衣服 在窗内 都转上新装

曾说会办个会展婚礼老了亦觉精彩

办不来 但想象仍是可爱

留恋港湾道 留恋东廊内

时间车速竞赛

在车里 望不到

谁人一生跟你 跳着舞

http://musicbaiducom/song/2114685

山峰之巅

吴浩康

留恋天光道

留恋花墟路

曾去紧张灌溉

每天里 齐祷告

祈求花开看到句号

留恋中间道

留恋公园内

谁要哭不要爱

受伤过 齐修补

为何拖拉不到

山顶里 我没法被免怀念到

看景致站到这么高

望相恋可永远不倒

但离别谁亦难料到

游过浪漫时代

新世纪中盖上尘埃

你在走我在走远

渐遗忘最爱

游过浪漫时代

利园的阶级不变改

但衣服 在窗外

都转上新装

行礼到圣约翰那大门你我没法开

维园内 仍给旧日覆盖

留恋广东道

留恋海港路

还有灯饰满载

乐声里 齐倒数

为何只得单数

山顶里 我没法被免怀念到

看景致站到这么高

望相恋可永远不倒

但离别谁亦难料到

游过浪漫时代

新世纪中盖上尘埃

你在走我在走远

渐遗忘最爱

游过浪漫时代

利园的阶级不变改

但衣服 在窗外

都转上新装

行礼到圣约翰那大门你我没法开

维园内 仍给旧日覆盖

曾在赤柱看海不可放开

终要分手那天我在

别离后 到处糊涂乱走

游过浪漫时代

新世纪中盖上尘埃

你在走我在走远

渐缠绵不再

游过浪漫时代

利园的阶级不变改

但衣服 在窗内

都转上新装

曾说会办个会展婚礼

老了亦觉精彩

办不来 但想像

仍是可爱

留恋港湾道

留恋东廊内

时间车速竞赛

在车里 望不到

谁人一生跟你 跳着舞

蒲公英

～林子祥～

qq84933735

凝望你 凝望我

想哭的眼睛

忘掉你 怀念你 怎么可说清

沉静也活泼 柔弱也任性

明明热爱又偏偏怕承认

如何让我做证能共足紧这段情

从此再不必冰冷凄清

情话是最动听你怎不多听几遍

而偏喜欢孤单只影

飘于苦恼的山岭

～～～～

仍没法留住你

远走的背影

留下你留下我

爱本是无定

然后你渐远然后我渐远

然后没有有甚么可以重认

然而没有热爱能像当初这段情

人生痛苦总因太清醒

仍然热爱着你却早知本应绝情

蒲公英一般的这生

怎改飘泊的本性

～～～～

沉静也活泼柔弱也任性

明明热爱又偏偏怕承认

如何让我做证能共足紧这段情

从此再不必冰冷凄清

情话是最动听你怎不多听几遍

而偏喜欢孤单只影

如何让我做证能共足紧这段情

从此再不必冰冷凄清

情话是最动听你怎不多听几遍

而偏喜欢孤单只影

飘于苦恼的山岭

～～～～

凝望你凝望我

想哭的眼睛

忘掉你怀念你

怎么可说清

凝望你凝望我

想哭的眼睛

忘掉你怀念你

秦海璐-下一站风景

翻过这座山岭枝叶茂密的森林

我会在哪里有怎样的风景

油菜花的低语诉说梧桐不懂的讯息

我已听不清雨就要停了

我一直前行

看天边绿树风清

花太美就停

只有心跳路上一片宁静

我就这样追着那颗启明星

要看清楚幸福里藏的秘密

城市里的灯火忽远又忽近

像你的眼睛

我要穿过黑夜奔跑到黎明

找到丢失已久那纯真的心

黑暗中身旁你绽开的笑容

是最美表情

灯腾的火透明着心绪里的恋爱热情

像人们的距离又近又疏离

彼此面无表情丢失了开启内心钥匙

心事没人听没有了勇气

我一直前行

看天边绿树风清

花太美就停

只有心跳路上一片宁静

我就这样追着那颗启明星

要看清楚幸福里藏的秘密

城市里的灯火忽远又忽近

像你的眼睛

我要穿过黑夜奔跑到黎明

找到丢失已久那纯真的心

黑暗中身旁你绽开的笑容

是最美表情

我就这样追着那颗启明星

要看清楚幸福里藏的秘密

城市里的灯火忽远又忽近

像你的眼睛

我要穿过黑夜奔跑到黎明

找到丢失已久那纯真的心

黑暗中身旁你绽开的笑容

是最美表情

我就这样追着那颗启明星

要看清楚幸福里藏的秘密

城市里的灯火忽远又忽近

像你的眼睛

我要穿过黑夜奔跑到黎明

找到丢失已久那纯真的心

黑暗中身旁你绽开的笑容

是最美表情

许志安==垃圾天堂

没看清楚白昼

没看清楚白天

灰色掩盖了宇宙

没看清楚夜晚吗

没看清楚夜空

天空铺满铁锈

看看这片废置的天与地

四处渗透了发枯的气味

迷人吗

越过了这座山岭

洞悉天外风景

对山峰再致敬

听说这个那个山影背后

听说各有各风光明媚

渴望会飞

飞不过慌忙

飞不过失望

像世界下塌

没氧气没星光

慢慢堕入垃圾仓

飞不上天堂

飞出去张望

何必丧气与绝望

何不放眼再仰望

天空更壮

天色更朗

怎可对抗

能飞得过慌忙

能飞得过失望

没世界下塌

没怨气没惊慌

没落没落垃圾仓

飞不上天堂

飞出去展望

何必丧气与绝望

何不放眼再仰望

天空更壮

天色更朗

来一起细看

若看清楚白昼

若看清楚白天

请高歌去赞美吧

若看清楚夜晚

若看清楚夜空

请高歌去赞美吧

看见这个那个山影背后

看见各有各风光背后

到处满载精采变奏

陈淑桦 浪迹天涯

浩浩的江海在呼唤

呼唤迷失的水

高高的山岭在等待

等待飘零的雪

悠悠的流水走千里

也有它的归处

轻轻的雪花随风飘

总有它的家乡

歌词制作 马贵强

流浪的人儿流浪的你

迷失在何方

流浪的人儿流浪的你

重回到我身旁

流水的双臂拥大地

我却拥不到你

高山的双眼俯着千里

我却寻不着你

流浪的人儿流浪的你

迷失在何方

流浪的人儿流浪的你

重回到我身旁

流浪的人儿流浪的你

迷失在何方

流浪的人儿流浪的你

重回到我身旁

流浪的人儿流浪的你

迷失在何方

流浪的人儿流浪的你

重回到我身旁

流浪的人儿流浪的你

迷失在何方

流浪的人儿流浪的你

重回到我身旁

History of Classical Music

Medieval (c1150 - c1400)

This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades etc), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis

Gregorian chant and plainsong which are monodic (ie written as one musical line) gradually developed during the 11th to 13th centuries into organum (ie two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony) Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut, and Landini

Recommended Recording:

Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana

Naxos 8550711

Renaissance (c1400 - c1600)

The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated parts) Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words

There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay

The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of 'classical' music Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'

This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc) Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria, Lassus, Lobo, Cardoso and Gesualdo

历史上的古典音乐

Medieval (c1150 - c1400) 中世纪（ c1150 -c 1400）

This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded这是第一期，我们已可开始得到相当肯定至于如何了大量的音乐，其中已存活实际上响起。 The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades etc), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis最早写世俗音乐的日期从12世纪troubadours （形式virelais ， estampies ， ballades等） ，但大多数人notated手稿来自地方的学习通常是与教会，因此，不可避免地有一个以宗教为基础。

Gregorian chant and plainsong which are monodic (ie written as one musical line) gradually developed during the 11th to 13th centuries into organum (ie two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony)格里高利高唱和plainsong是monodic （即笔试和一所音乐系） ，逐步发展，在11日至十三世纪到organum （即两个或三个动线，同时但独立的，所以几乎在不经意代表的开端和谐） 。 Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut , and Landini organum不过，当时的初期，而不是扼杀刚性规则的旋律和节奏，从而导致最终的目的是要以所谓人工鱼礁新的时期， 14世纪，主要是由作曲家德vitry ， 马豪 ， landini 。

Recommended Recording: 推荐唱片：

Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana adorate deum ：阳历高唱从适当的大众新schola gregoriana

Naxos 8550711 商Naxos 8550711

Renaissance (c1400 - c1600) 文艺复兴（ c1400 -c 1600）

The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated parts) 15世纪见证了大大增加了自由，最特别是在什么样的，其实是被视为'和谐'和'复调' （同步运动的两个或三个相互联系的部分） 。 Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words作曲家（虽然他们都是勉强的感觉是这样的）仍在几乎完全致力于合唱写作，少数乐器组成，其中有存活往往造成一种印象， （在许多情况下完全准确）的正声乐作品在乔装打扮，但减去的话。

There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis有明显的新喜悦，在质地品种和反差，因此，举例来说，某一特定文本中的一段可能得到加强声乐部分辍学的瞬间，只有回到一个多星期，又特殊的时刻重视。 The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay四个最有影响力的作曲家15世纪被dunstable ， ockeghem ， Despres ）虽然与杜费。

The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of 'classical' music下半年， 16世纪见证了开端的传统，其中许多音乐爱好者很容易联想与正常的感觉'经典'的音乐。 Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'渐渐地，作曲家迁离模态系统的和谐，其中占主导地位，为300多年前（和现在听起来有点过时的一些现代耳） ，对组织，其工作分为主要和次要的鳞片，从而传授强烈的感觉：每块有明确音调中心或'关键' 。

This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age这也是东西的一个黄金时期，合唱组成似乎永无休止的流一capella （举目无亲）群众， motets ，国歌，圣歌和madrigals流到从钢笔的主人的年龄。 In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc)此外，器乐开始自成体系，为第一次，特别是键盘音乐的形式fantasias ，变异，舞蹈动作（ galliards ， pavanes等） 。 Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria, Lassus, Lobo, Cardoso and Gesualdo作曲家特别值得注意的包括道兰，合唱团，伯德，长臂猿，弗雷斯科巴尔迪， palestrina ，维多利亚， lassus ，罗保后，卡多佐和gesualdo 。

Recommended Recording: 推荐唱片：

Byrd: Mass for Four Voices; Mass for Five Voices; Infelix ego伯德：质量为四个声音;大规模五声音; infelix自我

Naxos 8550574 商Naxos 8550574

Palestrina: Missa Papae Marcelli; Missa aeterna Christi munera palestrina ：弥撒曲" papae marcelli ;弥撒曲"依特钠基督教munera

Naxos 8550573 商Naxos 8550573

Palestrina: Missa hodie Christus natus est; Hodie Christus natus est; Stabat mater / Lassus: Missa bell' amfitrit' altera palestrina ：弥撒曲"为今天基督natus预测;遭受今天基督natus预测; stabat材料/ lassus ：弥撒曲"钟' amfitrit ' Altera公司

Naxos 8550836 商Naxos 8550836

Victoria: Missa O magnum mysterium; Missa O quam gloriosum / A Lobo: Versa est in luctum维多利亚：弥撒曲" o马格兰神秘;弥撒曲" o怎么gloriosum /甲罗保：反之亦然预测在luctum

Naxos 8550575 商Naxos 8550575

Lobo: Missa pro defunctis / Cardoso: Missa pro defunctis罗保：弥撒曲"亲defunctis /卡多佐：弥撒曲"亲defunctis

Naxos 8550682 商Naxos 8550682

Lamentations悲叹

Music by Tallis, White, Palestrina, Lassus and de Brito音乐由合唱团，白， palestrina ， lassus和德布里托

Naxos 8550572 商Naxos 8550572

Lassus: Missa super entre vous; Infelix ego; Missa imitationem moduli susanne un tour lassus ：弥撒曲"超级登入vous ; infelix自我;弥撒曲" imitationem模苏珊联合国之旅

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Tallis: Mass for Four Voices; Motets塔利斯：质量为四个声音; motets

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Gesualdo: Sacred Music for Five Voices (Complete) gesualdo ：神圣的音乐为五声音（完整）

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Baroque (c1600 - c1750) 巴洛克（ c1600 -c 1750）

During the Baroque period, the foundations were laid for the following 300 or so years of musical expression: the idea of the modern orchestra was born, along with opera (including the overture, prelude, aria, recitative and chorus), the concerto, sonata, and modern cantata在巴洛克时代，奠定了基础，为下列300年或稍后的音乐表现：构思现代乐团诞生了，随着戏曲（包括序曲，前奏曲，咏叹调， recitative和合唱团） ，协奏曲，奏鸣曲和现代的大合唱。 The rather soft-grained viol string family of the Renaissance was gradually replaced by the bolder violin, viola and cello, the harpsichord was invented, and important advances were made in all instrumental groups该比较软晶侵犯。弦乐家族的文艺复兴逐渐取代了大胆的小提琴，中提琴和大提琴，古键琴的发明，并取得了重大进展，在所有的乐器组。

Until about 1700, the old modes still exerted themselves from time to time by colouring certain melodic lines or chord progressions, but from the beginning of the 18th century the modern harmonic system based upon the major and minor scales was effectively pan-European直到大约1700年旧模式仍在竭力不时由填色某些旋律线或弦级数，但是，从十八世纪初，现代谐系统后，主要和次要的尺度是有效的泛欧洲。 Choral music no longer dominated, and as composers turned more and more to writing idiomatic instrumental works for ensembles of increasing colour and variety, so 'classical' music (as opposed to 'popular') gradually began to work its way into the very fabric of society, being played outdoors at dinner parties or special functions (eg Handel's Water Music), or as a spectacle in the form of opera合唱音乐已不再占主导地位，并作为作曲家把越来越多的写作成语器乐作品为合奏增加颜色和品种，使'古典音乐（有别于'受欢迎' ）逐渐开始工作地渗透到结构社会中，正在发挥在室外宴会场合或特殊功能（如： （ Handel的水上音乐） ，或作为一个奇观，在形式的歌剧。 On a purely domestic level, every wealthy lady would have a spinet to play, and at meal-times the large and rich houses would employ musicians to play what was popularly called Tafelmusik in Germany, of which Telemann was perhaps the most famous composer对纯粹的国内层面，每一个有钱的夫人将有spinet发挥，并在饭后倍大国和富国房子将聘请音乐家，以发挥什么深受所谓tafelmusik在德国，其中telemann也许是最有名的作曲家。

Of the many 17th century composers who paved the way for this popular explosion of 'classical' music, the following were outstanding: Monteverdi , Corelli , Alessandro Scarlatti, Schutz, Buxtehude, Purcell and Lully在众多的17世纪作曲家的人铺平了道路，为这个热门爆炸的'古典音乐，有以下几个悬而未决： 蒙特威尔第 ， corelli ，亚历山德罗斯卡拉蒂，舒茨， buxtehude ，裴熙亮和lully 。 Yet, the most popular composers of the period, indeed those who seem to define by their very names the sound of Baroque music at its most colourful and sophisticated are Johann Sebastian Bach, Handel, Telemann, Rameau, François Couperin , Domenico Scarlatti, and Vivaldi, all of them at their creative peak during the first half of the 18th century不过，最受欢迎的作曲家此期间，有些人似乎界定，以他们名字的声音巴洛克音乐在其最多姿多彩和精密的是约翰塞巴斯蒂安巴赫， （ Handel ， telemann ，拉摩， 弗朗索瓦couperin ， （ Domenico斯卡拉蒂，韦华，他们都在自己的创作高峰期在上半年的18世纪。

Classical (c1750 - c1830) 古典（ c1750 -c 1830）

The Baroque era witnessed the creation of a number of musical genres which would maintain a hold on composition for years to come, yet it was the Classical period which saw the introduction of a form which has dominated instrumental composition to the present day: sonata form巴洛克时代的见证设立了许多音乐流派，其中将维持持有组合今后几年，但它是古典时期，其中看到了开征某种形式，其中有乐器为主组成的，以本日：奏鸣曲形式。 With it came the development of the modern concerto, symphony, sonata, trio and quartet to a new peak of structural and expressive refinement与它来发展现代协奏曲，交响曲，奏鸣曲，三重奏及四重奏，以一个新的高峰结构性和表现力细化。 If Baroque music is notable for its textural intricacy, then the Classical period is characterised by a near-obsession with structural clarity如果巴洛克音乐是显着，其构造复杂性，那么，古典时期的特点是一个近痴迷结构清晰。

The seeds of the Classical age were sown by a number of composers whose names are now largely forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well as more historically respected names, including Gluck, Boccherini and at least three of Johann Sebastian Bach's sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the so-called 'London' Bach)种子的古典时代播下了由多个作曲家的名字，现在基本上被遗忘，如朔贝特和honnauer （均德国人，主要活跃于巴黎） ，以及更尊重历史地名，包括格鲁克， boccherini和至少3名约翰塞巴斯蒂安巴赫的儿子：卡尔菲利普灵光，威廉弗里德曼和约翰基督教（即所谓『伦敦』巴赫） 。 They were representative of a period which is variously described as rococo or galante, the former implying a gradual move away from the artifice of the High Baroque, the latter an entirely novel style based on symmetry and sensibility, which came to dominate the music of the latter half of the 18th century through two composers of extraordinary significance: Joseph Haydn and Wolfgang Amadeus Mozart 他们分别代表的一个时期，这是各种形容为洛可可或加兰特，前者暗示逐渐迁离从手腕的高级巴洛克式，而后者是一个完全新颖的风格基础上的对称性和感性，来主宰音乐的下半年， 18世纪两个作曲家有着非同寻常的意义： 约瑟夫海顿和沃尔夫冈Amadeus的莫扎特 。

Early Romantic (c1830 - c1860) 早期浪漫（ c1830 -c 1860）

As the Classical period reached its zenith, it was becoming increasing clear (especially with the late works of Beethoven and Schubert) that the amount and intensity of expression composers were seeking to achieve was beginning to go beyond that which a Classically sized/designed orchestra/piano could possibly encompass作为古典时期达到了顶点，它正在变得越来越清晰（尤其是与已故的作品， 贝多芬和舒伯特）的数量和强度的表达作曲家正在谋求实现正开始超越了那些经典大中/设计乐团/钢琴可能不同。 The next period in musical history therefore found composers attempting to balance the expressive and the formal in music with a variety of approaches which would have left composers of any previous age utterly bewildered今后一个时期，在音乐史，因此发现作曲家企图以平衡表现力和正规的音乐与不同的途径，将已离开的作曲家以往任何时代完全莫名其妙。 As the musical map opened up, with nationalist schools beginning to emerge, it was the search for originality and individuality of expression which began here that was to become such an over-riding obsession in the present century作为音乐地图打开了，与民族主义者所学校开始出现，这是搜索的原创性与个性的表达，开始在这里表示，要成为这样一种压倒一切的痴迷，在本世纪。

The Romantic era was the golden age of the virtuoso, where the most fiendishly difficult music would be performed with nonchalant ease, and the most innocuous theme in a composition would be developed at great length for the enjoyment of the adoring audience浪漫时代是黄金时代的能人，哪里最困难fiendishly音乐，将演出满不在乎的缓和，最无害的主题，在一个组合，将发展在很大篇幅为享受的崇拜观众。 The emotional range of music during this period was considerably widened, as was its harmonic vocabulary and the range and number of instruments which might be called upon to play it情绪各类音乐，在此期间被大大拓宽，正如其谐波词汇及范围和文书的数目可能被要求发挥它。 Music often had a 'programme' or story-line attached to it, sometimes of a tragic or despairing nature, occasionally representing such natural phenomena as rivers or galloping horses音乐往往有一种'计划'或故事，在网上重视它，有时一个悲剧性或绝望的性质，偶尔代表这种自然现象的河流或舞动的马匹。 The next hundred years would find composers either embracing whole-heartedly the ideals of Romanticism, or in some way reacting against them未来一百年会发现作曲家要么拥抱衷心理想的浪漫主义，或以某种方式作出反应，对他们的。

Of the early Romantic composers, two Nationalists deserve special mention, the Russian Glinka (of Russlan and Ludmilla fame) and the Bohemian Smetana (composer of the popular symphonic poem Vltava or 'The Moldau')对早期浪漫主义作曲家，两个民族主义者特别值得一提，俄罗斯葛令卡（ russlan和ludmilla名利）和波希米亚美塔纳 （作曲家一项十分受欢迎的交响诗尔塔瓦或' moldau ' ） 。 However, the six leading composers of the age were undoubtedly Berlioz , Chopin , Mendelssohn , Schumann , Liszt and Verdi 然而， 6名领导作曲家的年龄无疑是柏辽兹 ， 肖邦 ， 门德尔松 ， 舒曼 ， 李斯特和威尔第 。

Late Romantic (c1860 - c1920) 晚浪漫（ c1860 -c 1920）

With the honourable exceptions of Brahms and Bruckner , composers of this period shared a general tendency towards allowing their natural inspiration free rein, often pacing their compositions more in terms of their emotional content and dramatic continuity rather than organic structural growth与这位例外勃拉姆斯和布鲁克纳 ，作曲家这一时期分担的一般倾向，让他们自然的灵感放手，往往起搏其成分更在其情感内容和具有戏剧性的延续性，而不是有机的结构性增长。 This was an era highlighted by the extraordinarily rapid appearance of the national schools, and the operatic supremacy of Verdi and Wagner 这是一个时代所强调的异常迅猛，出现了民族学校，及戏曲至高无上的威尔第和瓦格纳 。 The eventual end of Romanticism came with the fragmentation of this basic style, composers joining 'schools' of composition, each with a style that was in vogue for a short period of time最终完的浪漫主义来支离破碎这一基本风格，作曲家加入'学校'的成分，每一种风格，那是时尚，进行了短暂的一段时间。

In order to do justice to a period so rich in famous names and compositions, this section is arranged alphabetically by country rather than composer为了做到公正，一期有这么丰富的名牌和成分，这一节是依英文字母排列，由国家，而不是作曲家。

Bohemia波西米亚