《WHAT IS LOVE》
韩国SM娱乐有限公司的EXO-K和EXO-M于2012年1月30日在各大网站中推出了出道序曲《What is Love》的韩文版本、中文版本以及MV，该序曲将会作为日后发布的正规一辑的引子。
《What is Love》是由世界知名的音乐制作人Teddy Riley 和SM公司人气作曲家 YOO YOUNG JIN 共同创作的传统R&B曲风的歌曲,歌曲以带动整体氛围的电吉他为始，以厚重而简单的架子鼓和808贝斯，温和地合成节奏造就了简约的风格，更加激发人们的想象。
《What is Love》韩文版本由成员DO和BAEK HYUN演唱，中文版本由成员CHEN和LU HAN演唱，充分展现了各自的魅力。值得一提的是，在MV中12位EXO成员全部亮相，让所有人眼前一亮并使期待值大增，引爆了新一轮全世界对EXO组合关注的热潮。
《HISTORY》
韩国SM公司男子新人团体EXO-K和EXO-M，今天(9日)终于公布了6人组的成员构成，并公开了第二支序曲《History》韩文版本及中文版本MV。
《HISTORY》不同于首单，有着强劲的音乐,更能让人感受到他们强大的POWER！EXO成员华丽整齐的舞蹈及大气的舞台背景让MV的震撼程度更上一层楼。更值得称赞的是，12位成员在MV中均有不小的突破，从各个方面展示出了作为新人组合的超强实力。
序曲放送后，一时间成为各大流行网站的焦点，引发了广大网友对EXO组合今后音乐作品的强烈期待。
专辑
《MAMA》
韩国SM公司韩国SM公司男子新人团体EXO-K和EXO-M，4月8日公开了第一张迷你专辑《MAMA》，韩文版本及中文版本的主打歌MAMA。
这张专辑是由包括刘荣镇在内的Teddy Riley、Thomas Traulsen、申赫等韩国国内外最佳作曲家共同参与打造，唱片质量极佳。尤其是EXO-K录制的韩语版和EXO-M录制的中文版两个版本，散发了不同的魅力，反响异常火爆。
专辑主打歌《MAMA》以雄壮的音乐凸显了EXO-K、EXO-M极具魅力的嗓音。本首歌是劲歌作曲家俞永镇的作品，Gregorian chant及管弦乐的雄壮声为EXO更添一层神秘感，舞蹈间奏中尖利的合成声，即兴吉他覆奏（guitarriff）和强烈的喊声一起，展现出力量感，给人耳以压力。另外，歌词感性的表达了人们在现实与数字（遐想）世界之间的挣扎，对（人与人）缺乏沟通的遗憾，以及渴望找寻纯真爱情的心情，使歌曲完成度更上一层楼。
MAMA
Careless, careless shoot anonymous, anonymous
Heartless, mindless no one, who care about me
失落的感觉 谁在乎只有忍耐
我再也无法接受 闭上了双眼
MAMA 可不可以请告诉我 为什么人会变的不一样
那些听说过的美丽日子是真的存在过吗
早就忘了应该要更努力爱着他 早就忘了心去包容他
自顾自的生活是否假装继续忙
隐形在你的面具背后充满许多的表情
到最后却始终如一 真的更好吗
我们要这样 不再看彼此的眼神吗
不再对我讲话吗 不再说你爱我吗
就算受了伤 眼泪也如雨的下
改变就能解答 改变就能到达 告诉我 MAMA MAMA
都忘了什么时候开始我们被关在聪明里头
我的世界只在0和1的制作中度过
感情 每天毫无根据
越久就更寂寞 只有自己受伤和难过
相遇和牵手 感受泪和笑容
越贴近的频率 我们开心感应 可能回来吗
隐形在你的面具背后充满许多的表情
到最后却始终如一 这样真的更好吗
我们要这样 不再看彼此的眼神吗
不再对我讲话吗 不再说你爱我吗
就算受了伤 眼泪也如雨的下
改变就能解答 改变就能到达 告诉我 MAMA MAMA
最后我怒吼 我狂奔 我回温 不想要世界变的冷
请帮帮我 MAMA MAMA MAMA MAMA turn back
告诉我 MAMA MAMA MAMA MAMA rolling back
追逐 失控 看谁都很冷漠 游戏不会这样做
请帮帮我MAMA MAMA MAMA MAMA turn back
Yeah
Careless, careless (MAMA) Shoot anonymous, anonymous (MAMA)
Heartless, mindless (MAMA) No one, who care about me (MAMA)
因为受到了祝福 我能感觉到真的快乐 多想要每天认识更多的人
把碎了的心重温 只要有爱的单纯 找回我原本笑容里的真
我们要这样 不再看彼此的眼神吗
不再对我讲话吗 不再说你爱我吗
就算受了伤 眼泪也如雨的下
改变就能解答 改变就能到达 告诉我 MAMA MAMA
Careless, careless shoot anonymous, anonymous
Heartless, mindless no one, who care about me
EXO-M - HISTORY
Listen 感觉到没有？我的心K停掉了节奏
heart be breakin’
泪水曾经愤怒地掉落
大声嘶吼 “Ha!” 移步向以后
pain be
灰的眼 留恋蓝的天 让无谓叫嚣变成泡沫
不含畏缩 纯粹的执着
原地踏步过多久 在这新的起始点站著是我
关卡一一都击破 放弃在我字典没录入过
我们一分两头 本是太阳般一体结构
Oh oh 我降落这个世界的理由
I need you and you want me 在这颗蓝色星体
Every, every, everyday 我创造的 History
Break it! 破陈旧的规 Move it! 让谎言作废
more shakin’ like
倒数 归零后就会 洗净了伤悲 崭新的经纬
时间还有空间穿越与游走 梦想完美国度的光辉
会让我们 牵起手飞
原地踏步过多久 在这新的起始点站著是我
关卡一一都击破 放弃在我字典没录入过
我们一分两头 本是太阳般一体结构
Oh oh 我降落这个世界的理由
I need you and you want me 在这颗蓝色星体
Oh oh 让时间逆向行走 该是转变的时候
Turn turn it it up, up, turn it up it
Turn it up, turn it up, turn it up
当你什么都寄望给永远
所有都推迟到下一个明天
或许明天之后没有未来
留下的只有悔恨的灰烬和尘埃
抓住爱的手爱的手爱的手
越爱越完美暖热这个星球
悲伤在左手握喜悦的右手
我们分享同一个理由
YA! 我们抱紧为一体在诞生的瞬间
却开始习惯疏离 和一个人的世界
距离渐渐渐渐越来越远
隔离分开成两边 太阳不需要分界线
One more, two more, three four more
这一瞬间迎接冀望已久 梦e完美世界
心K开始跳动 极速跳动
Doong doong doong doong doong doong
徘徊过多久 在这新的起始点站著是我
Yeah- EXO-M, EXO-K 要打开我们的未来 History
我们一分两头 本是太阳般一体结构
Oh- 同一颗心K 太阳下我们连线 无限的延长线
I need you and you want me 在这颗蓝色星体
Every, every, everyday 我创造的 History
EXO-M - 你的世界 (Angel)
好像什么都不懂的一个孩子一样纯真
重生那个美丽的瞬间
双眼闭上又睁开 害怕这一切只是梦
留恋我就真诚站在你面前 渴望得到你视线
只是想和你一起走
两个人用同样的步调协奏 一次就足够
当我乘坐着风 在你的世界降落
白色的风 在你身边环绕着
你问我来自哪里 笑着回答是秘密
只要是你和我一起走下去
天堂在随时和随地
对我来说你比天使还灿烂耀眼
如果有谁对你不义 我一定不允许
仿佛第一次进入伊甸园的忐忑不安
让我每天只是望着你 心里一直想着你
琐碎的尘埃和沙砾我不会让那些伤害靠近你
永远守护你 I’m eternally Love
为你挡下狂风 身为你的守护者
永远有我 就算世界都冷漠
每次你痛苦委屈 为你会把泪擦去
如果是你和我不管在哪里
天堂是随时和随地
爱上你的我再也没有地方可回头
翅膀已经不再拥有永恒的生命被夺走 Oh No
可我依然感觉幸福唯一的理由
因为我的永恒现在就是你 Eternally Love
当我乘坐着风 在你的世界降落
白色的风 在你身边环绕着
你问我来自哪里 笑着回答是秘密
只要是你和我一起走下去
天堂在随时和随地
EXO - WHAT IS LOVE
Girl’ I can’t explain what I feel
Oh baby my baby’ baby’ baby’ baby yeah
漫长的一天 仿佛就像短暂一秒的感觉
每天都像是为你写下的情节
这一幕浪漫爱情片 下一幕动作片男主角
我扮演你心中唯一英雄
你如此完美)突然我期待 陪你走向的未来
别把爱藏起来 抓住幸福 只要你能坦白oh baby
I lost my mind 当你走进我视线
就在你周围整个世界 get in slow motion
请你告诉我 如果这样就是爱
爱无所不在 会让我忘记伤害
分担悲哀 学习关怀
吵过哭过 还能拥抱
请你告诉我 如果这样就是爱
当我牵你手 全世界羡慕不已
当你吻我 才懂这感觉不会更改
他们说得天长地久 也许已不在
但你可信赖 我是不顾一切去爱你的人
你将会慢慢明白
I don’t know why 这感觉无可取代
爱是突如其来的意外
你让我变成最佳男人
只要在你身边 生命变得光彩
I lost my mind 当你走进我视线
就在你周围整个世界 get in slow motion
请你告诉我 如果这样就是爱
爱无所不在 会让我忘记伤害
分担悲哀 学习关怀
吵过哭过 还能拥抱
请你告诉我 如果这样就是爱
今夜我想起你拉开窗帘
对着星空许下一个心愿
像童话故事里幸福结局 happily ever after
从今以后为你付出为你心疼为你等待我绝不离开
只想给你我一生的爱
I lost my mind 当你走进我视线
就在你周围整个世界 get in slow motion
请你告诉我 如果这样就是爱
爱无所不在 会让我忘记伤害
分担悲哀 学习关怀
吵过哭过 还能拥抱
请你告诉我 如果这样就是爱
当我牵你手 全世界羡慕不已
当你吻我 才懂这感觉不会更改
My babe baby babe baby baby
我无法不想你 是否这样就是爱
只想让你笑得像个纯真小孩
只想给你安慰像个朋友般的依赖
My babe baby babe baby baby
告诉我 到底 what is love
EXO-M - 双月之夜 (Two Moons)
你当然看不透 空前的Miracle
这不是梦 别再问 放空你的头
你的思绪混乱 耐心Now be hold
我懂你不想后悔莫及So请等候
撕裂了寂静的咆哮 Whoa 帅爆的 Feelin’
电力穿透全身到 Whole world let me hit it hit it
月亮要升起来 快要 快要升起来
Ready set，oh my 夜空都亮起来
今晚要多了个多了个月亮 多了个多了
今晚要多了个多了多多多多了个多了个月
Two Moons, Two Moons,
Two Moon Two Moon Two Moons
(EXO)Wanna get out tonight
(EXO)Wanna get out tonight
(EXO)Two Moons, Two Moons,
Two Moon Two Moon Two Moons
Wanna get out tonight wanna get out tonight
Wanna get out tonight So we never come back
白色月发出耀眼的Light
切开Gray sky 颤动在这Late night
交错的Road Road 目前还Don’t know
别再浪费时间找说明书Gotta go go
Get it up get it up 已经准备就绪就趁现在Hold我的手
那些不同的不懂的人 一直想方设法封我的口
只是目前还没习惯 不再给你标准的答案
4dimension专线在这里等待 Welcome to the night
That’s right!
Selected VIP wouldn’t it be mind-blowingly awesome
Now we’re on a rock rock rocket,
just gotta keep your seatbelt fastened
今晚要多了个多了个月亮 多了个多了
今晚要多了个多了多多多多了个多了个月
No you’re not gonna shoulda woulda this and coulda woulda that
cuz we’re never coming back to this trap
See those two full moons, you’re the chosen knight
go and spread good news, cuz we got no time
今晚要多了个多了个月亮 多了个多了
今晚要多了个多了多多多多了个多了个月
Two Moons, Two Moons,
Two Moon Two Moon Two Moons
(EXO)Wanna get out tonight
(EXO)Wanna get out tonight
(EXO)Two Moons, Two Moons,
Two Moon Two Moon Two Moons
I’m good
EXO-M - MACHINE (Chinese Ver)
她冰冷 皮肤透明 像是瓷器
她眨眼都有频率 她是否流着血液
黄金比例 超现实主义 都害怕为她定义
打败了人类的逻辑
她的泪滴 怎么看不出来 有情绪
灰眼睛 像玻璃 猜不透埋藏纯真或神秘
不亲眼看 你绝不会相信
像爱上机器 爱上你
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
无声的机器 没有心
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
Ah! Yeah!
我读着 她的眼神 她的唇语
却发现尘封的心 严密的像个禁区
或许靠近听 她也会哭泣 或许会对你同情
但表情 却异常平静
她的泪滴 怎么看不出来 有情绪
灰眼睛 像玻璃 猜不透埋藏纯真或神秘
不亲眼看 你绝不会相信
像爱上机器 爱上你
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
无声的机器 没有心
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
(Hey hey) 难解开的秘密
(Hey hey) Yeah 小心 一不注意入了迷
就全掉进了她设下的陷阱 yeah
Yeah 明知是陷阱 心 走火走火 gotta get to her heart
Yeah 多危险的美丽
足以着魔的好奇
Woo~ 谁真的能唤醒
她努力爱 却被伤过的心
像爱上机器 爱上你
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
无声的机器 没有心
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
像爱上机器 爱上你
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
无声的机器 没有心
SHE’S MA MA MA MA MACHINE
SHE’S MA MA MA MA MACHINE
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
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Palestrina: Missa Papae Marcelli; Missa aeterna Christi munera palestrina ：弥撒曲" papae marcelli ;弥撒曲"依特钠基督教munera
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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
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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
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Lobo: Missa pro defunctis / Cardoso: Missa pro defunctis罗保：弥撒曲"亲defunctis /卡多佐：弥撒曲"亲defunctis
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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
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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
Naxos 8550576 商Naxos 8550576
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
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