the first deliberate 'no-longer-beautiful art'." Main works: Scriabin: The Poem of Ecstasy op. 54 for orchestra (1905–1908) Webern: Five movements for string quartet op. 5 (1909) Webern: Six Pieces for Large Orchestra Op. 6 (1909) Schoenberg: Three Piano Pieces op. 11 (1909) Schönberg: Five orchestral pieces op. 16 (1909, revised 1922) Schönberg: Erwartung op. 17, monodrama (1909, not performed until 1924) Schoenberg: Sechs kleine Klavierstücke op. 19 (1911) Webern: Five Pieces for Orchestra op. 10 (1911) Schoenberg: Pierrot Lunaire op. 21 for one speaking voice and ensemble (1912) Berg: Five orchestral songs after poems by Peter Altenberg op. 4 (1912) Stravinsky: The Rite of Spring (1913) Berg: Three orchestral pieces op. 6 (1914) Scriabin: Vers la flamme, poème op. 72 for piano (1914) Webern: Songs for voice and ensembles opp. 14–18 (1917–1925) Berg: Wozzeck op. 7, opera (1917–1922, first performance 1925) Bartók: The Miraculous Mandarin for orchestra (1918–1923, rev. 1924 and 1926–31) Atonality The term "atonal" appeared in music theory literature around 1900 and from there migrated into music journalistic usage – usually used in a negative, combative manner. It is usually used to describe music with a harmony that does not establish any binding keys or references to a fundamental, i.e. to tonality. "Atonality", although often used in this way, is not a stylistic term, but belongs to the field of compositional techniques; the works written atonally belong predominantly to expressionism. In addition to the main works mentioned there, the following were important, especially for the transitional phase from extended tonality to atonality: Schoenberg: Chamber Symphony No. 1 op. 9 (1906). Schoenberg: String Quartet No. 2 op. 10 (1907–08), still in the key of F-sharp minor, but already freitonal, especially in the two vocal movements (soprano) "Litanei" and "Entrückung". Schoenberg: Das Buch der hängenden Gärten op. 15, 15 poems by Stefan George for one voice and piano. (1908–1909) Rupture through fascism or: The Second World War During the National Socialist era, most forms of new music, as well as jazz music, were designated as degenerate and their performance and dissemination banned or suppressed. The exhibition degenerate music on the occasion of the Reichsmusiktage in Düsseldorf in 1938 denounced the work of composers such as Paul Hindemith, Arnold Schönberg, Alban Berg, Kurt Weill and others, as well as all Jewish composers. Instead, in the spirit of the "NS-Kulturpolitik", harmless untertainment and Gebrauchsmusik such as operetta, dance and March music, especially