-
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Gustav Mahler
-One of the first to use large instrumentation techniques used for personal expression, for instance, Symphony No. 2 “Resurrection” (1894)
-Conductor of Metropolitan Opera, the New York Philharmonic and Vienna Hofoper (now the Vienna State Opera) -
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Claude Debussy
-Innovative use of non-functional harmony and whole-tone scales, for instance, Prélude à l’après-midi d’un faune (1894), Clair de Lune (1905).
-Associated with French Impressionism, though he disliked the label -
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Richard Strauss
-Central figure representing the beginning of modernism
-Innovative use of chromaticism and orchestration in operas Salome (1905) and Elektra (1909)
-Lived through Imperial Germany, 2 world wars and post-war Germany, supported German culture and collaborating with the Nazi regime in hopes of his music being promoted -
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Arnold Schoenberg
-Central figure in the development of the twelve-tone technique and sprechstimme, for instance, Pierrot Lunaire (1912), displaying atonality and serialism techniques
-A Vienna-based revolutionary, shifting from tonal music to atonality. Explored expressionism in music with his pupils, claiming to be the Second Viennese music -
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Igor Stravinsky
-Part of the neoclassicism and avant-garde movements, using rhythmic complexity and striking orchestration, for instance The Rite of Spring (1913) and The Firebird (1910) -
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Anton Webern
-A disciple of Schoenberg, used 12-tone and serialism in his compositions, displaying short, but intense phrases and sparse textures, for instance Symphony Op. 21 (1928) -
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Alban Berg
-Blends Romanticism with atonal technique, for instance, his piece Wozzeck (1925)
-A student of Schoenberg, focused on lyricism within twelve-tone systems. -
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William Grant Still
-First African-American composer to have a symphony performed by a major orchestra, with his Symphony No. 1 “Afro-American” (1930) -
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George Gershwin
-Brought jazz elements to the classical world, for instance, Rhapsody in Blue (1924) and Porgy and Bess (1935), which is considered to be the first opera to feature an entirely Black cast -
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Aaron Copland
-Wrote music in praise of the Wild West, with open perfect intervals and a folk influence, for instance Appalachian Spring (1944), Fanfare for the Common Man (1942).
-Avid supporter of America's populist movement. -
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Dmitri Shostakovich
-Composed under Stalin’s regime, balancing personal expression with Soviet directives
-His music is a reflection of his rebellious attitude towards the Soviet regime, with his Symphony No. 10 in E minor, Op. 93 after Stalin's death being the peak of his rebellious journey.
-Use of ambiguous tonality, grotesque tone and constant change. Impressive use of dissonance while giving momentary illusions of tonality -
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Olivier Messiaen
-Explored modes of partial transposition, rhythmic complexity, and synesthetic associations (color connection with sound), for instance, Quartet for the End of Time (1941) and Turangalîla-Symphonie (1948).
-Use of Constant movement, but the illusion of stability.
-Use of bird song imitation
-A devout Catholic whose spirituality deeply influenced his music
-Was a prisoner in concentration camp Stalag VIII-A from 1940 to 1942 -
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Samuel Barber
-Use of dissonance and 12-tone techniques, for instance Adagio for Strings (1936) and Knoxville: Summer of 1915 (1947) -
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John Cage
-Key figure for the development of aleatoric music and prepared piano
-Set the discussion for what music is with his piece 4'33". -
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Benjamin Britten
-Combined traditional tonality with modernist dissonance
-Influenced by English folk traditions
-His relationship with homosexuality led him to write Peter Grimes (1945), which has homosexual oppression as its subtext. -
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Leonard Bernstein
-Connected classical music with Broadway and jazz influences, for instance, West Side Story (1957)
-Acclaimed composer and conductor, being music director of the New York Philharmonic from 1958 to 1969. -
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György Ligeti
-Use of micropolyphony and cluster chords to create dense sound textures with constant micro movement, for instance Atmosphères (1961) and Requiem (1965), which were used in the film 2001: A space odyssey -
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Pierre Boulez
-Use of clusters and serialism, for instance Le Marteau sans maître (1955)
-He claimed that "any composer who had not come to terms with Schoenberg's method is useless" -
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Karlheinz Stockhausen
-Use of electronic and spatial music and surround sound, for instance, Gesang der Jünglinge (1956) and Kontakte (1958–60) -
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George Crumb
-Explored extended techniques and symbolic notations, for instance, Black Angels (1970) and Ancient Voices of Children (1970) -
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Alfred Schnittke
-Use of Polystylism, merging historical and modern idioms, for instance, Concerto Grosso No. 1 (1977) and Symphony No. 1 (1974) -
Arvo Pärt
-Developed the tintinnabuli style, emphasizing purity and simplicity, for instance, Tabula Rasa (1977) and Fratres (1977) -
Steve Reich
-Key figure for the development of minimalism
-Use of phasing techniques, for instance Music for 18 Musicians (1976) -
Philip Glass
-Another key figure of the minimalist movement
-Uses "echoes of past musical styles, but in a cosmic, vamping, repetitive way: quasi-Bachian organ solos, nondenominational church choirs, Alberti bass accompaniments swirling around like lost pages of Mozart”, for instance Einstein on the Beach (1976) -
John Adams
-Blends minimalism with traditional forms, for instance, Nixon in China (1987) and The Death of Klinghoffer (1991) -
Osvaldo Golijov
Merged Latin American styles with contemporary classical, for instance, La Pasión según San Marcos (2000)