of 1915. The 20th century also saw important works published by such significant immigrant composers as Igor Stravinsky and Arnold Schoenberg, who came to America for a variety of reasons, including political persecution, aesthetic freedom and economic opportunity. See Modernism (music) for more information on the rise of Modernism in America and throughout the world. Minimalism is a musical movement that started in the early 1960s in New York City. Composers such as Philip Glass, Steve Reich, and John Adams (composer) used experimental composition techniques such as drones, phasing, repeated motifs, sharp contrasts between mixed meters, simple but often abrupt movements between minor and major chords with the same root, contrasts between tonality and atonality, and a large amount of use of synthesizers to display the interplay of the fundamental building blocks of music: the cancellation and amplification of wavelengths that make up all acoustic and synthesized sound. As is often the case in art, the rise of American minimalism in music paralleled the rise of minimalism as an artistic style, which used the contrast of black and white, the gradual movement of shading with gradients, and also often repeated concepts and themes. In the 1970s and 1980s, the postmodern music movement would see the rise of composers such American composers like John Cage who adopted atonal structures and took an experimental approach to music composition, most famously and controversially with his 1952 piece 4'33", for which there are no notes written on the page and the music is described to consist of the sounds of the immediate environment of the audience, thus extending the definition of music to consist of any and all sounds even though they are without a composer created structure. Another more current, example of postmodern music is that of American composer Miguel del Águila, who blends American idioms with those of his Hispanic, Latin American roots. In the 20th century, incidental music saw new heights with the development of the full orchestrated film score. Drawing from the opera styles of composition and the rules of Richard Wagner (specifically the idea of Gesamtkunstwerk), many early soundtracks include overtures, intermission music, and medleys and concert suites and a repeat or use of the overture for the end credits, depending on whether the movie was showing opening or ending credits. Over the evolution of the cinema the music took on greater and greater sophistication with the inclusion of