Arnold Schoenberg or Schönberg (/ˈʃɜːrnbɜːrɡ/, US also /ˈʃoʊn-/; German: [ˈʃøːnbɛɐ̯k] (About this

soundlisten); 13 September 1874 – 13 July 1951) was an Austrian, and later American, composer, music
theorist, teacher, writer, and painter. He is widely considered one of the most important and influential
composers of the 20th century. He was associated with the expressionist movement in German poetry
and art, and leader of the Second Viennese School. With the rise of the Nazi Party, Schoenberg's works
were labeled degenerate music, because they were modernist and atonal. He emigrated to the United
States in 1933.

Schoenberg's approach, both in terms of harmony and development, has been one of the most
influential of 20th-century musical thought. Many European and American composers from at least
three generations have consciously extended his thinking, whereas others have passionately reacted
against it.

Schoenberg was known early in his career for simultaneously extending the traditionally opposed
German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in
atonality (although Schoenberg himself detested that term) that would become the most polemical
feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an
influential compositional method of manipulating an ordered series of all twelve notes in the chromatic
scale. He also coined the term developing variation and was the first modern composer to embrace
ways of developing motifs without resorting to the dominance of a centralized melodic idea.

Schoenberg was also an influential teacher of composition; his students included Alban Berg, Anton
Webern, Hanns Eisler, Egon Wellesz, Nikos Skalkottas, Stefania Turkewich, and later John Cage, Lou
Harrison, Earl Kim, Roberto Gerhard, Leon Kirchner, Dika Newlin, and other prominent musicians. Many
of Schoenberg's practices, including the formalization of compositional method and his habit of openly
inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th
century. His often polemical views of music history and aesthetics were crucial to many significant 20th-
century musicologists and critics, including Theodor W. Adorno, Charles Rosen, and Carl Dahlhaus, as
well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann, and Glenn Gould.

Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.

Stravinsky" redirects here. For other uses, see Stravinsky (disambiguation).

This name uses Eastern Slavic naming customs; the patronymic is Fyodorovich and the family
name is Stravinsky.

Igor Fyodorovich Stravinsky ComSE (/strəˈvɪnski/; Russian: И́горь Фёдорович

Страви́нский, IPA: [ˈiɡərʲ ˈfʲɵdərəvʲɪtɕ strɐˈvʲinskʲɪj]; 17 June [O.S. 5 June] 1882 – 6 April 1971) was a
Russian-born composer, pianist, and conductor. He is widely considered one of the most important
and influential composers of the 20th century.
Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international
fame with three ballets commissioned by the impresario Serge Diaghilev and first performed in Paris
by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913).
The latter transformed the way in which subsequent composers thought about rhythmic structure
and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who
pushed the boundaries of musical design. His "Russian phase" which continued with works such
as Renard, the Soldier's Tale and Les Noces, was followed in the 1920s by a period in which he
turned to neoclassicism. The works from this period tended to make use of traditional musical forms
(concerto grosso, fugue and symphony), drawing on earlier styles, especially from the 18th century.
In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with
examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a
few two- or three-note cells and clarity of form, and of instrumentation.