<Table> <Tr> <Td> </Td> <Td> This section does not cite any sources . Please help improve this section by adding citations to reliable sources . Unsourced material may be challenged and removed . (May 2013) (Learn how and when to remove this template message) </Td> </Tr> </Table> <Tr> <Td> </Td> <Td> This section does not cite any sources . Please help improve this section by adding citations to reliable sources . Unsourced material may be challenged and removed . (May 2013) (Learn how and when to remove this template message) </Td> </Tr> <P> Part of the music from the Baroque and Classical eras is absolute, as is suggested by titles which often consist simply of the type of composition, a numerical designation within the composer's oeuvre, and its key . Bach's Concerto for Two Harpsichords in C Minor, BWV 1060; Mozart's Piano Sonata in C Major, K. 545, and Beethoven's Symphony No. 7 in A major (Opus 92) are all examples of absolute music . </P> <P> Contrarywise, some composers of the Baroque era used to design titles for their music in a fashion resemblant to that of Romantic program music, called the rappresentativo (representative) style . Some of the most notable examples were composed by Antonio Vivaldi--some of his violin, flute or recorder concertos bear titles inspired by human affects (Il piacere--the pleasure), occupations (La caccia--the hunting, La pastorella--the shepherdess) or, most notably, aspects of nature and meteors (The Four Seasons, La notte--the night, La tempesta di mare--the sea storm). Another well - known example is Heinrich Ignaz Biber's Sonata representativa (for violin and continuo), which depicts various animals (the nightingale, the cuckoo, the cat) in a humoristic manner . </P>

How might a baroque composer create program music