The Baroque period is an era in the history of Western art, roughly the 17th century. The most common characteristics are majestic, vigorous, dynamic, tense atmosphere, focusing on light and light effects, good at expressing various strong emotions and a sense of infinity, and tending to break various artistic boundaries. The solemn and noble characteristics of the art of the Baroque period come from the combination of the essence of ancient art developed during the Renaissance and the restraining effect of ethical concepts. In terms of music, the most obvious turning point in the history of art occurred in Italy at the beginning of the seventeenth century. The Baroque period in music, like other artistic fields, also reflected a variety of different styles. Rococo, Rococo in music, is a term borrowed from the decorative arts to the field of music in an analogy and metaphorical way, specifically referring to French music in the eighteenth century.

The original meaning refers to a style of decorative art originating from French architecture at the end of the 17th century. This style resulted from the general non-strict observance of French classicist rules at the time, and was not an inevitable consequence of the Italian Baroque. One of the first people to determine its origin, Kimball, described it this way: "Inspired by the arabesque style, the line organization on the picture is outlined according to the context of the picture."

According to him, the first phase of its development, a period of immense lightness and elegance, lasting until about 1730, should correctly be called 'French Regency style', and the second phase of 'painterly "Style" or "Louis XVI style", which lasted until about 1760, was basically based on the first stage and further detailed in a more exaggerated form; the main representative figure is Pineau ). Its decline began with the restoration of neoclassicism.

The Rococo style in music has never been rigorously and meticulously described. Critics have used the term for a wide variety of musical phenomena, many of which would be better described by the eighteenth-century term "galant." Pergolesi's "La serva padrona" was once called "Italian Rococo". However, this did not explain the artistic connection between France and Italy, nor their musical differences. contact on. The concept was applied to literature with the same ambiguity, even to Goethe. According to the principle of prudence, when we use the concept of "Rococo" for analogy, we should strictly limit it to the scope of France, or only to areas that are geographically or artistically influenced by France! Ballet is one such field, wherever it is dominated by France. The opera ballets and pastorals of Destouches and Campra show a certain color change after Lully's tragic and solemn heroism. degree of relaxation. The first phase or "Regency style" also corresponds to the mature period of Couperin, who, after inheriting the tradition of his seventeenth-century predecessors, further created a unique French style in decoration and fine carving, the Rococo style. The factors are more obvious in his pastoral-themed sketches. During the same period, the French flute school also emerged, which also contributed to the establishment of the later "magnificent style", which can also be regarded as the disintegration of ancient norms. La Laurencie proposed a "rococo" or "magnificent" style in connection with the establishment of the French violin school, the Leclair school. The second period corresponds to Rameau's rising period. Rameau confused the audience with his various complex twists and sudden changes in harmony. At that time, some critics described Rameau's "Plate" as "beautiful and picturesque"