not have any impact, as it was not published until 1953. Alban Berg's "Jugendlieder" also belong to this corpus.. The school had a style-defining effect on so-called musical expressionism, which was joined by some – mostly early – works by other composers. Under the keyword atonality, which refers less to a style than to a compositional technique subsequently designated as such, the Viennese School is "leading the way". The compositional development then leads on to the twelve-tone technique, which also designates a compositional technique and not a style. It should not be overlooked that Schoenberg and Berg also developed a number of intersections with neoclassicism – mainly on the level of form and less in terms of composition and adopted stylistic elements. Expressionism Expressionism in music was developed in direct contact with the currents of the same name in the visual arts (Die Brücke, Dresden 1905; Der Blaue Reiter, Munich 1909; Galerie Der Sturm, Berlin 1910) and literature (Trakl, Heym, Stramm, Benn, Wildgans, Wedekind, Toller and others) from around 1906. As a style, it was completed around 1925, but the musical characteristics and many of the expressive gestures have endured to the present day. The main representatives are the composers of the Second Viennese School: Arnold Schönberg, Anton Webern and Alban Berg as well as, against a different background of the history of ideas, Alexander Scriabin. Composers have sought a subjective immediacy of expression, drawn as directly as possible from the human soul. To achieve this, a break with tradition, with traditional aesthetics and the previous, hackneyed forms of expression was unavoidable. Stylistically, the changed function of dissonances is particularly striking; they appear on an equal footing with consonances and are no longer resolved – what was also called the "emancipation of dissonance". The tonal system is largely dissolved and expanded into atonality. Musical characteristics include: extreme pitches, extreme dynamic contrasts (from whispering to screaming, from pppp to ffff), jagged melody lines with wide leaps; metrically unbound, free rhythm and novel instrumentation. Form: asymmetrical period structure; rapid succession of contrasting moments; often very short "aphoristic" pieces. Rudolf Stephan: "Expressionist art, wherever and in whatever form it first appeared, was alienated, fiercely rejected and publicly opposed, but also enthusiastically welcomed by individuals. It had abandoned the traditional ideal of art being 'beautiful' in favour of a (claimed) claim to truth; it was probably not infrequently even deliberately 'ugly'. It was thus