With the death of Debussy and the emergence of Satie, Schoenberg, and Stravinsky, modern classical music had a new style to which Ravel would shortly re-group and make his contribution.

Later, his name would come to personify pioneering innovations in atonality ( although Schoenberg himself detested the term " atonality " as inaccurate in describing his intentions ) that would become the most polemical feature of 20th-century art music.

Schoenberg at first accepted, but upon being sent copies of Berg's sketches he changed his mind, saying that it would be a more time-consuming task than he had thought.

Gershwin would later receive formal training and lessons from influential figures like Henry Cowell, Wallingford Riegger and Arnold Schoenberg in advanced composition, harmony and orchestration ; however, in 1924 he had had no such training.

Inspired by the jazz of Ornette Coleman and John Coltrane and the atonal music of Arnold Schoenberg, Ralph Patt sought a guitar-tuning that would facilitate improvisation.

Leonard Ratner has commented: " The restless, unresolved dissonances of Nuages gris the isolated figures, the sense of alienation — these have a clear affinity with the somewhat later expressionism of the Viennese composers Mahler and Schoenberg .... gris is a musical bellwether that indicated what was happening and what would happen in European music: sound, with the assistance of symmetry, would take over, harmony would be absorbed into color and lose its cadential function.

Schoenberg wrote to the effect that Gebrauchsmusik would hardly out-live its present-day application, while that composed for art and no other purpose would have the only chance at immortality.

Musical and iconic codes would be relevant as between a work by Arnold Schoenberg and a piece of bubblegum pop, and a painting by Rembrandt and a comic book by Frank Miller, etc.

A chief attraction of the UW job was the opportunity to work directly with Isaac Schoenberg, considered the father of splines, the piecewise polynomials de Boor would further develop.

He studied composition at the Munich Academy in the 1920s with Joseph Haas, a pupil of Max Reger, and later he received enormous intellectual stimulus and encouragement from the conductor Hermann Scherchen, an ally of the Schoenberg school, with whom he had a nearly lifelong mentor-protégé relationship.

Operatic modernism truly began in the operas of two Viennese composers, Arnold Schoenberg and his student Alban Berg, both composers and advocates of atonality and its later development ( as worked out by Schoenberg ), dodecaphony.

A year later, Holst first heard Schoenberg ’ s Five Pieces for Orchestra, an " ultra-modern " set of five movements employing " extreme chromaticism " ( the consistent use of all 12 musical notes ).

As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique ; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism.

Schoenberg was also a painter, an important music theorist, and an influential teacher of composition ; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians.

He moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles, both of which later named a music building on their respective campuses Schoenberg Hall ( UCLA Department of Music ; University of Southern California Thornton School of Music ).

His early works are in a late romantic idiom, and he later produced expressionist works, rather in the style of early Arnold Schoenberg, before developing a leaner, contrapuntally complex style in the 1920s.

In addition to the French repertoire with which, to his occasional irritation, he was generally associated, he programmed Mozart, Beethoven, Brahms and Wagner, as well as later composers including Granados, Schoenberg, Scriabin, Shostakovich, Sibelius, Richard Strauss and Vaughan Williams.

" For the first performances of Pierrot Lunaire, Schoenberg was able to work directly with the vocalist and obtain exactly the result he desired, but later performances were problematic.

Operatic modernism truly began in the operas of two composers of the so-called Second Viennese School, Arnold Schoenberg and his acolyte Alban Berg, both advocates of atonality and its later development ( as worked out by Schoenberg ), dodecaphony.

He went on to study composition with Harl McDonald at the University of Pennsylvania and later with Isadore Freed in New York and Arnold Schoenberg in Los Angeles.

They include an early Symphony for small orchestra ( 1933 ), an Ouvertüre in honour of Schoenberg ’ s 70th birthday ( 1944 ), a Piano Concerto ( 1947, later revised as a Concerto for piano with chamber orchestra ), a Violin Concerto ( 1953 – 55, though this remained in pencil score ), Prelude and Variations dedicated to Stravinsky ( 1962 ), Ricercata for orchestra ( 1965 ), Cantatas on poems of Nietzsche ( 1951 ) and on German folksong texts ( 1964 ), string quartets, trios, works for violin and piano, solo piano pieces, several sets of songs and some arrangements of Irish folksongs.

Adorno cites as the most consequent surrealist compositions those works by Kurt Weill, such as The Threepenny Opera and Rise and Fall of the City of Mahagonny, along with works by others drawn from the middle-period music of Igor Stravinsky — most particularly that of L ' Histoire du soldat — and defines this surrealism as a hybrid form between the " modern " music of Arnold Schoenberg and his school, and the " objectivist " neoclassicism / folklorism of the later Stravinsky.

Serial music is represented by choral works by Arnold Schoenberg, including the anthem " Dreimal Tausend Jahre ," while the composer's signature use of sprechstimme is evident in his psalm " De Profundis.

Holst's use of orchestration was very imaginative and colourful, showing the influence of Arnold Schoenberg and other continental composers of the day rather than his English predecessors.

In a sequence of works including the Piano Trio ( 1966 ), the opera Arden Must Die ( 1966 ), the music-theatre piece Triptych ( 1968 – 70 ), the orchestral Metamorphosis / Dance ( 1974 ), and the String Quartet No. 3 ( 1975 – 76 ), Goehr's personal voice was revealed, arising from a highly individual use of the serial method and a fusion of elements from his double heritage of Schoenberg and Messiaen.

This narrative, rooted in early 20th century scholarship, was commonly used in pedagogical practice, textbooks, ( Grout & Burkholder ) and saw widespread use in marketing and publishing the work of artists and writers of that period ( Schoenberg, Babbitt, Stockhausen ) while being documented as a social and intellectual discourse, in and of itself by latter theorists of modernism in music.

This piano suite was the first Canadian composition to use Arnold Schoenberg ’ s 12-tone system, though in a modified form.

This included the use of polyphony and polymodal structures, influenced by contemporary composers such as Milhaud and Schoenberg.

Typically of Britten, the music mixes tonality and dissonance, with Britten's recurrent use of a twelve-tone figure being perhaps a nod to the approach of Arnold Schoenberg.

Riegger was known for his use of a twelve-tone system, related to that of Schoenberg.

However, he did not use it in all of his compositions and his usage varied from that of Schoenberg, for example in not always using rows with twelve tone and not using transposed forms of the rows.

Arnold Schoenberg asks for the technique in a number of pieces: the part of the Speaker in Gurre-Lieder ( 1911 ) is written in his notation for sprechstimme, but it was Pierrot Lunaire ( 1912 ) where he used it throughout and left a note attempting to explain the technique.

Some of these composers ( Cage, Cowell, Glass, Reich ) represented a new methodology of experimental music, which began to question fundamental notions of music such as notation, performance, duration, and repetition, while others ( Babbitt, Rochberg, Sessions ) fashioned their own extensions of the twelve-tone serialism of Schoenberg.

His music is modern without being modernist, combining a reverence for the great Austro-German lineage of composers with very personal innovations in harmony and orchestration ( showing an awareness of the output of composers such as Debussy and Ravel, whose piano music he was known greatly to admire, along with a knowledge of more recent composers in his own German-speaking realm, such as Schoenberg, Berg, Hindemith, etc .).

In 1907, as Picasso was painting Les Demoiselles d ' Avignon, Oskar Kokoschka was writing Mörder, Hoffnung der Frauen ( Murderer, Hope of Women ), the first Expressionist play ( produced with scandal in 1909 ), and Arnold Schoenberg was composing his String Quartet No. 2 in F-sharp minor, his first composition " without a tonal center ".

Schoenberg's most well-known students Hans Eisler, Alban Berg, and Anton Webern, followed Schoenberg faithfully through each of these intellectual and aesthetic transitions, though not without considerable experimentation and variety of approach.

), while the latter's small ensemble of flute, clarinet, violin, cello, and piano was introduced by Arnold Schoenberg for his 1912 song cycle Pierrot lunaire and, with or without the addition of a percussionist, has become a ubiquitous ensemble for the performance of 20th and 21st century classical music and has been also used in countless vocal works including Peter Maxwell Davies's Eight Songs for a Mad King.

Arnold Schoenberg rejected traditional tonal harmony, the hierarchical system of organizing works of music that had guided music making for at least a century and a half.

Across the border in Austria, Arnold Schoenberg innovated a form of twelve-tone music that used rhythm and dissonance instead of traditional melodies and harmonies, while Kurt Weill and Bertolt Brecht collaborated on some of the great works of German theater, including Rise and Fall of the City of Mahagonny and The Three-Penny Opera.

An important aesthetic philosophy as well as a group of compositional techniques at this time was serialism ( also called " through-ordered music ", "' total ' music " or " total tone ordering "), which took as its starting point the compositions of Arnold Schoenberg and Anton Webern ( but was opposed to traditional twelve-tone music ), and was also closely related to Le Corbusier's idea of the modulor.

At first sticking to traditional neo-Classical styles of composition Powell increasingly explored concepts in Atonality, or " non-tonal " music as he called it, as well as Serialism advocated by Austrian composer Arnold Schoenberg.

His early work was in piano, and his musical development drew on traditional composers such as Bach and Haydn, as well as modern composers such as Bartók, Schoenberg, Webern, and Ives.

The works of Schoenberg, Debussy, Sibelius and Richard Strauss emphasized different scales other than the traditional major-minor scale, and used chords that did not clearly establish a tonality.