He later studied gregorian chant and early polyphony

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He later studied Gregorian chant and early polyphony.
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Arvo Pärt (b. 1935) Tintinnabuli The term is derived from the bell-like sonorities that it can produce. The method features counterpoint between a mostly stepwise diatonic melody and voices sounding notes of the tonic triad determined by a preset system. Pärt developed this method in the 1970s.
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Arvo Pärt (b. 1935) Seven Magnificat Antiphons (1988, rev. 1991), O König aller Völker The second tenor has a modal tune centered on A. The second soprano forms an augmentation canon with the tenor. The altos recite the text on D. The other parts sound notes of the D minor triad. The texture alternates between consonance and diatonic dissonance.
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Magnificat Antiphons , No. 6, O König aller Völker
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Quotation, collage, and polystylism A number of composers quoted existing music, sometimes even creating a collage of multiple quotations. Modernist composers like Schoenberg and Stravinsky borrowed previously composed material.
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Quotation, collage, and polystylism Postwar composers used older music to carry meanings that were not available by other means. Quotation and collage could include past and present styles. This style is similar to postmodernism, which treats all epochs and cultures as equally available as source material.
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The AT&T Building in New York City
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Alfred Schnittke (1934–1998) Schnittke worked in the Soviet Union primarily as a film composer, and he moved to Germany in 1990. As the Soviet government relaxed its cultural controls in the 1960s, he explored several modernist techniques.
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Alfred Schnittke (1934–1998) Schnittke later turned to polystylism, a combination of new and old styles. Symphony No. 1 (1969–72) incorporates passages from works by numerous classical composers that present conflicting styles and historical periods.
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Alfred Schnittke (1934–1998) Concerto Grosso No. 1 (1976) Juxtaposes eighteenth-century, modern atonal, and popular styles Suggests Vivaldi concertos, galant style, twelve-tone music, and hymnlike popular style Styles are disguised through canons and polytonality. All the themes are combined at once in the finale.
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John Corigliano (b. 1938) This American composer often draws upon styles from the Baroque and Classical to avant-garde. The opera The Ghosts of Versailles (1987) uses serial and other modern techniques to portray the ghosts, while the play is set in a Mozart opera style. Symphony No. 1 (1989) is a memorial to friends who died of AIDS and incorporates quotations of some of their favorite pieces.
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Neo-Romanticism Some composers adopted the familiar tonal idiom of nineteenth-century Romanticism, a trend known as neo- Romanticism.
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Neo-Romanticism George Rochberg (1918–2005) After working in serialism and quotation, Rochberg embraced neo-Romanticism in the 1970s.
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