The monochord, a primitive, single-stringed scientific instrument, attributed to Pythagoras, used as a way of teaching harmonics, measuring musical intervals, tuning scales and encouraging experimentation. It is thought that Pythagoras used the monochord to delineate the three Western Scales (diatonic, chromatic, and enharmonic), illustrating how numerical ratios could be visualized with sound. The single string was typically plucked, though later developments would offer other variations, including the use of a bow. The introduction of a sound box to enhance the lower-frequency response of the single string led to the invention of the soundboard.

Music notation first developed, a curve representing the rise and fall of pitch.

A staff appeared with the traditional five lines.

In England, a system of notation developed, much like it is today, with open and closed notes on the staff; and the first inclusion of ‘colouration,’ by composers.

François Couperin (1668–1733): French Composer, Harpsichordist, Organist, Teacher (Son of Charles Couperin) – Baroque Period

• His treatise The Art of Playing the Harpsichord (L 'Art de Toucher le Clavecin) (1716) covers fingering, touch, ornamentation and performance on the harpsichord.

Louis-Joseph Marchand (1692 – 1774): French Theorist, Composer, Priest – Baroque Period

• His book Singing from the Book (Traité du Contrepoint Simple, ou Chant sur le Livre) (1739) considered to be the first French counterpoint handbook.

Term Pianoforte ( “soft and loud” ) coined by poet/journalist Scipione Maffei; he named Cristofori’s instrument a “gravicembalo col piano, e forte.”

C. P. E. Bach (1714 – 1788): German Composer, Harpsichordist, Organist (Son of JS Bach) – Late Baroque / Early Classical Period

• His famous treatise Essay on the True Art of Playing the Keyboard Instruments (Versuch über die wahre Art das Clavier zu spielen) (1753) covers technical advice on fingering (helped to standardized the use of the thumb), position & figured bass, improvisation and ornamentation and his philosophy of performance, believing that music should “touch the heart” and “awaken the passions.” “…it was the most important work of practical musical instruction of the second half of the 18th century.” ^{[ 2 ]}
• Mozart once said of him: “Bach is the father. We are the children!”

Friedrich Wilhelm Marpurg (1718–1795): German Critic, Journalist, Theorist, Composer – Classical Period

• Initially interested in discussing how music had an effect on audiences but later shifted and became more concerned about the works themselves & the composer’s relation to the work.
• Among his many works are topics ranging from teaching keyboard performance, thoroughbass, and composition and fugue.
• Developed Rameau’s theories.
• His works used in the study of the history of 18th century music. He had three periodicals in which he wrote and edited: Der critische Musicus an der Spree (1749–50), Historisch-kritische Beyträge zur Aufnahme der Musik (1754–62, 1778), and Kritische Briefe über die Tonkunst (1760–64).

Antonio Boroni (1738–1792): Italian Composer, Choirmaster – Late Baroque / Early Classical Period

• Taught his relative Muzio Clementi.
• Maestro din Cappella at Saint Peter’s Basilica.