chordal; often rambling, meandering, without a clear internal structure. Harmonics: dissolution of the cadence as a structure-forming feature; concealment of tonality; transition to bitonality and polytonality. Change in attitude to dissonance: no more compulsion to resolve dissonant chords. Preference for altered chords; layering of chords (dominant and tonic at the same time) in thirds up to the undecimal; layering of fourths and fifths. Rhythm: tendency to veil bars and even to abolish bar patterns; metre becomes unimportant, accents are set freely; frequent bar changes, frequent syncopations. Instrumentation: differentiation of colour nuances; search for new sound effects with a preference for blending sounds; shimmering, iridescent, blurring sound surfaces with rich inner movement. Pointillism (setting of sound spots). Preference for harp. Differentiated pedal effects in piano music. In many cases, Arnold Schönberg's idea of a timbre melody is already realised. Form: Loosening up and abandoning traditional forms; no rigid formal schemes. Often repetition of a phrase two or more times. The works that have become famous are: Debussy: Prélude à l'après-midi d'un faune for orchestra (1892–94) Debussy: Pelléas et Mélisande, lyric drama in five acts and twelve pictures with orchestra after a text by Maurice Maeterlinck (1893–1902) Dukas: L'Apprenti sorcier (The Sorcerer's Apprentice) for orchestra (1897) Ravel: Pavane pour une infante défunte (for piano 1899; orchestral version 1910) Ravel: Jeux d'eau for piano (1901) Debussy: Pour le piano (1901–02) Debussy: La Mer for orchestra (1903–05) Ravel: Daphnis et Chloé, ballet music for orchestra (1909–1912) Debussy: Préludes – Livre I (1909–10) and Préludes – Livre II for piano (1910–12) Vienna School or Schönberg – Webern – Berg The so-called Viennese School, considered as such since 1904 and more rarely called the Second or New Viennese School or Viennese Atonal School, refers to the circle of Viennese composers with Arnold Schönberg and his pupils Anton Webern and Alban Berg as its centre. Due to Schönberg's strong appeal as a teacher, who attracted students from many countries, and due to his teaching activities in changing cities, the term transferred from the designation of a 'school' to the style that this school produced. The term is narrowly applied mostly to compositions worked in twelve-tone technique. The composers of the Viennese School were, although not exclusively, stylistically influential for the Late Romanticism with the main work Verklärte Nacht Op. 4, a string sextet by Schönberg from 1899. Alongside this is Webern's Piano Quintet (1907), which, however, did