Spanning the last half of the 18th century through the early years of the 19th century, the Classical style period in music overlaps with the late Baroque (around 1750) and early Romantic (beginning ca. 1820) periods. 1750-1825 encompass the era, and dates have been further specified. 1730-1770 is often labeled "preClassic," meaning the years before Franz Joseph Haydn’s and W.A. Mozart’s mature compositions. 1770-1800 is typically called "Classic" or "High Classic." After these years, musical style led to early Romantic, associated with greater freedom in expression of feeling. But the two periods are not directly opposed. In fact, there seems to be more historical continuity than contrast (Grout 563). In conjunction with different dates, the term "Classicism" has several definitions. One refers to a work that has survived beyond the music of a certain time period. Ironically, Classical music included only new works at the time. Listeners were exclusively interested in innovative compositions and expected to hear current works at every concert. The term "Classicism" also refers to high achievement and perhaps the idea of elitism, sometimes associated with classical compositions today. To the dominant Viennese composers of the period, Classicism meant music that pertains "to the highest order of excellence" (Machlis & Forney 231).

Looking to ancient Greece and Rome as a stylistic model, the 18th century related to the ancients in balance, proportion, and clarity that were admired in art works of these civilizations (Pauly 3). This style based on the ancient cultures is called "neoclassic." Adopting some of their ideas, those musicians associated with the Classical period moved beyond the Greeks and Romans to create their own style. In addition, 18th-century thought developed from the 17th century’s achievements in philosophy, science, and math (Downs 3). Not only in music, typical Classical style characteristics applied to all the fine arts.

Historically, many transforming events took place during the Classical period. This era saw the influential rules of Louis XV in France, Frederick the Great in Prussia, and Catherine the Great in Russia. The French Revolution began in 1789, and introduced the "Reign of Terror" before Napoleon’s rise to power. Beginning with the American Revolution of 1776-1783, many important inventions supported the rise of the middle, working class into what came to be known as the Industrial Revolution. Benjamin Franklin also made significant contributions to science with his discovery of electricity. Famous literary authors from this period include Jane Austen, Lord Byron, and E.T.A. Hoffmann. In addition, the Classical era made great advancements in philosophy, especially with Jean-Jacques Rousseau and Voltaire. All these men were Enlightenment thinkers in Europe and America, introducing skeptical questions about religion and promoting secular humanism. Music history recognizes that "Eighteenth-century Classicism . . . mirrored the unique moment in history when the old world was dying and the new was in the process of being born" (Machlis & Forney 230).

Paris, Mannheim, and Vienna were the centers of 18th-century music. On another level, courts and palaces focused on music performance. Musicians were funded by the aristocrats and most music was written for upper-class social events. Slowly, music started to move to the concert hall for public performances of current composers and new works. Coinciding with the rise of the middle class, this era saw the beginning of public concerts and music publication. At the core of European focus, Vienna was the capital of the Hapsburg dynasty, ruled by Empress Maria Theresa, Joseph II, and later Napoleon and Prince Metternich. This city was also the music capital of Europe in the late 18th century.

"Viennese school" is the general term used to describe the Classical period musical scene, which centered on the achievements of the Viennese school masters - Franz Joseph Haydn (1732-1809), Wolfgang Amadeus Mozart (1756-1791), Ludwig van Beethoven (1770-1827), and their successor Franz Schubert (1797-1828) (Machlis & Forney 231). Musical scholar Joseph Kerman explains that "musicians can point with pride to this galaxy of great composers and compare the accomplishments of Viennese music with those of other such rich cultural flowerings at other times and other places: art in Renaissance Florence and Venice, for example, or literature in Elizabethan England" (145). Haydn and Mozart characterize both the early and mature Viennese styles, while Beethoven determined the late style. Actually, Beethoven’s approach after 1800 was so individual that his later works are placed in their own stylistic category. Musical critic E.T.A. Hoffmann has also written of Haydn, Mozart, and Beethoven developing a new art, with origins first appearing in the middle of the 18th century (Rosen 19). This new art is called the "Classical style," and musical scholar and theorist Charles Rosen adds that "what unites Haydn, Mozart, and Beethoven is not personal contact or even mutual influence and interaction (although there was much of both), but their common understanding of the musical language which they did so much to formulate and change" (23). Schubert was also a part of this late style, helping to bridge the gap with his expressive melodies exploited within classical constraints.

Describing the transformation of musical style as gradually evolving from old to new and innovative ways, musicians recognize the coexistence of old and new before the Classical elements became most prominent. In preClassic times, style focused on simplicity, in contrast to more complex Baroque textures. Explained as "simply a presentation of organized sound," (Pauly 4) early 18th-century compositions had a lot of thematic repetition and not many contrasts. Classical composers introduced novel methods and emotional contrasts, but still incorporated tradition as well as order and balance into their pieces. Musical scholar Philip Downs further reveals that the 18th century shows "how much of the vitality of the art of this time . . . is dependent upon the recognition of the constant adjustment that is required to evolve a balance between intellect and emotion, logic and feeling -- between head and heart" (16). Beethoven, however, began to alter this careful balance with unexpected musical climaxes in the last movements of many of his compositions.