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The portion of Amadeus to which you refer is unfortunately a rather accurate depiction of a practice that has thankfully passed, that of using pounding large staff on stage to keep time. Jean-Baptiste Lully was literally an unfortunate casualty of this practice. As for Rubato, the Harvard Dictionary of Music offers two related definitions. The main ...

The only thing that I have found difficult to describe in Roman Numerals is 9th and higher chords in inversions. For example, a C9 chord with the G in the bass would be described in lead sheet notation as C9/G but my theory class never really came up with a consistent way to describe inversions beyond 7ths. I sadly don't have any texts or examples beyond ...

In order to answer your question, the question itself needs to be modified. To correct your thought, the Romantic Period did not occur specifically during Beethoven's lifetime, so it could therefore not have happened during his "middle" period. It is important to understand that when talking about labeling a period of music is to label a zeitgeist of ...

These are in fact all different. The D and G and bars 6 and 8 are in square brackets by the editor to indicate that they should be re-attacked, since the preceding note is the same. Bar 8 is not a trill. It should be played as two eighth notes G and F. Bar 12 is a normal trill where its first note (F#) was not the last one played, so no need to indicate it ...

The obvious shortcoming is that after we leave the classical period, music and tonality becomes too complex for Roman numeral analysis to be completely useful. So, we don't need to mention 9th chords or jazz 7ths and the like, and I believe you understand that already from the question. For classical music, Roman numeral analysis is the most widely accepted ...

Are you familiar with the concepts of "early music" and "historically-informed performance"? General background rather than a specific answer: I'm not a keyboardist or instrumentalist, but I work as a volunteer business person with a Baroque orchestra composed of career specialists in early music and historically-informed performance. All I can say is that ...

The defining point lies somewhere between the Third Symphony and the Fifth Symphony. In particular, I would argue that it's the Fourth Piano Concerto where Beethoven makes the most radical break from Classical to Romantic music, inasmuch as the harmonic freedom exploited in late Mozart and in Beethoven's earlier works is combined with breaking structural ...

One piece which is often mentioned is Beethoven's 3rd symphony. I don't think harmony alone could be a defining factor. Bach already has some pretty wild stuff. There's an extremely dissonant chord-progression piece (or section of a piece) by him, but I don't remember what it is (it's not the chromatic fantasie and fugue).

These recommendations assume that it took you between 2 and 6 months to learn each of the pieces you've mentioned. You're definitely already in the intermediate stage and should be congratulated on your progress! Baroque: Try a selection from one of the suites by Handel. Maybe the Allemande, Allegro or Aria from the Suite in G major HWV 441, or the ...

Let me add my US $0.02. Roman numeral analysis is very good for studying a piece of music and figuring out the harmonic progression. However, if all you want to do is sight-read and play the music on your instrument, it's more efficient to name chords by their letter name because it's easier to read and play. Let me give a very simple example. If you are ...