By the sixteenth century, there emerged in the work of theorists such as Gioseffo Zarlino, a brand new theoretical category—temperament—which made attainable accounts higher suited to describe the improvements in polyphony and counterpoint composition. Another strand of European music theory that emerged during and after the Renaissance drew on ideas from historic rhetorical theories in order to describe the area of musical possibilities. By the tip of the 18th century, such rhetorical analysis had largely been supplanted by a new kind of analysis of musical forms, such because the sonata, in the work of Heinrich Koch and others. These theoretical …