and radio technology are also causally linked to New Music. First of all, they contributed significantly to the popularisation of music and also brought about a change in audience structure. Furthermore, they provided – for the first time in the history of music – an insight into the history of the interpretation of old and new music. They ultimately made possible the (technically reproduced) presence of all music. Moreover, this technique itself is a novelty, whose musical potential was systematically explored from the beginning and used by composers in corresponding compositional experiments. Moderne (1900–1933) Impressionism or: Debussy – Ravel – Dukas Impressionism is the transfer of the term from the visual arts to a music from about 1890 to the First World War in which tonal "atmosphere" dominates and colourful intrinsic value is emphasised. It differs from the late Romanticism that took place at the same time, with its heavy overloading, by Mediterranean lightness and agility (which does not exclude spooky or shadowy moods) and by avoiding complex counterpoint and excessive chromaticism in favour of sensitive tone colouring, especially in orchestral instrumentation. The centre of this movement is France, the main representatives being Claude Debussy, Maurice Ravel (who, however, also composed many works that cannot be described as impressionistic) and Paul Dukas. The moment of colour, freedom of form and a penchant for exoticism are what musical works have in common with those of painting. Through the Paris World's Fair of 1889, Claude Debussy learned the sound of Javanese gamelan ensembles, which strongly influenced him, as did the chinoiserie of his time. In addition to the use of pentatonics (for example in Préludes I, Les collines d'Anacapri) and whole-tone scales (for example in Préludes I, Voiles), Debussy made use of the salon music of the time. (for example, Préludes I, Minstrels) and harmonies borrowed from early jazz music (as in Children's Corner and Golliwogg's Cakewalk). Like Ravel, Debussy loved the colour of Spanish dance music. The fact that some of Debussy's works, which satisfy the characteristics of Impressionism, can also be attributed to Art nouveau, Jugendstil or Symbolism for good reasons only shows that the pictorial/literary parallels do bear some common stylistic features, but that no clear stylistic attribution can be derived from them. The characteristics of impressionist music are: Melodic: coloured by pentatonic, church keys, whole tone scales and exotic scales; their core form is closely related to the