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ality, polyrhythm, and tone clusters among others. He was an accomplished pianist and many of his publications had piano parts that were similar to modern movements in Europe, including bitonality and pantonality. He is best known for his orchestral music and he composed two string quartets and other works of chamber music. Ives' music possessed a number of unique features. He applied unconventional approaches to rhythm and harmony away from the salon styles of the nineteenth century that were dependent on European models. He wanted a music that reflected his view of America: rugged, individualistic, and unafraid to experiment. His music contains a mixture of hard-hedged dissonance and quotations from his favorite hymn tunes. Ives' compositional career came to an end in 1918 when he succumbed to health complications. Over the duration of time that he had been actively composing, he managed to create a body of work that was unique and ahead of his time. His works were not celebrated as much during his early days but later on in his life his music began to be taken seriously. In 1947, he received the Pulitzer Prize for his Third Symphony and since then, his works became an integral part of the classical repertoire and he has been recognized for being a fine composer.

伊戈尔斯特拉文斯基-Igor Stravinsky

This Russian-born composer, pianist and conductor is widely acclaimed as one of the most important and influential composers of 20th century music. Stravinsky's compositional career was notable for its stylistic diversity. Unlike Arnold Schoenberg who abandoned the world of tonality, he sought to retain tonality by advancing it to its very limits. Stravinsky first achieved international renown with three ballets: The Firebird, Petrushka and The Rite of Spring. The Rite was based upon harsh dissonance, motor rhythms and ambiguous harmonies that drove tonality to its brink. It transformed the way in which subsequent composers thought about rhythmic structure, and was responsible for his enduring reputation as a musical revolutionary, extending the boundaries of musical design. After this Russian phase, Stravinsky joined the Orthodox Church in 1926 and turned to neoclassicism. During this period, his works made use of traditional music forms (concerto grosso, fugue, and symphony) and were all striking in their austerity and experimental tonality. For this neoclassical style, he abandoned the large orchestras required by the ballets and only used wind instruments, the piano and choral and chamber works. In 1952, Stravinsky began using serial compositional styles, including dodecaphony, the twelve-tone technique originally designed by Schoenberg.

Stravinsky earned the title of one of music's truly epochal innovators because of his technical innovations and the 'changing face' of his compositional style while still maintaining identity. He drew his inspiration from different cultures, languages and literatures therefore his influence on composers to date is considerable. Apart from his distinctive use of rhythm, he continued to compose pieces which elaborated on individual pieces by earlier composers. He was also a wonderful conductor of his own and other people's music and led hundreds of concerts worldwide.

In different ways, Igor Stravinsky rewrote music history. His brilliant, demanding orchestral scores carved the path for the superstar conductor. Years later, his works conti