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The eighteenth centuries are reasonably described as an era of musical common practice when composers of different nationalities and temperaments nonetheless wrote music that was stylistically and structurally similar in important respects however in contrast the twentieth century has been a period of great and increasing diversity of both style and structure More specifically music criticism has divided twentieth century music into two opposing groups the neoclassical and the progressiveThis view has remained influential up to the present day It depicts the neoclassicists especially Stravinsky as attempting to restore and revive aspects of earlier music while the progressive Schoenberg Berg and Webern pushed music forward in a direction determined by the historical developments of late nineteenth century chromaticism Neoclassical music is seen as relatively simple staticand objective as having revived the classical ideals of balance and proportion But Progressive music is seen as relatively complex developmental and emotionally expressive as having extended the tradition of romanticism Stravinsky realises and asks himselfWas I merely trying to refit old ships while the other side - Schoenberg - sought new forms of travel the answer seems to be YES Schoenberg has found new forms of thravel which was the methode of composing with twelve tones as we call it Serial music For Schoenberg progress was what history requires Music is in continuous process of evolution It is the composers task to comprehend the historical trend and to keep it going in the proper direction Schoenberg mentionsWhile composing for me had been a pleasure now it became a duty I knew I had to fulfil the task I had to express what was necessary to be expressed and I knew I had the duty of developing my ideas for the sake of progree in music whether I liked it or not Webern spoke of a similar sense of compulsion and of the weight of the past pushing him and never in the history of music has there been such
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