Respighi, Satie, Schoenberg (; ), Sibelius, Richard Strauss, Stravinsky, Vaughan Williams, Villa-Lobos, and Wagner. In the 20th century Carl Orff attempted a revival of ancient Greek practices of musical theater (he also regularly contributed his own texts in Latin and Ancient Greek to his own musical works). Contemporary music In contemporary art music, the entire gamut of historical style periods has served as a creative resource. Interest in musical historicism has been spurred by the emergence of such international organizations as the Delian Society, dedicated to the revitalization of tonal art music, and Vox Saeculorum, whose composer members have a specialized interest in baroque idioms . Some contemporary historicist composers, similar to the 18th-century literary figures Thomas Chatterton, James MacPherson (the Ossian poems), and Horace Walpole (The Castle of Otranto), have written under a pseudepigraphic ascription, attributing their work to other composers, either real or imaginary. These include Winfried Michel, author of the "Haydn Forgeries" (; ) and Roman Turovsky-Savchuk, whose original lute and viola da gamba compositions in the baroque style were sufficiently convincing to be mistaken for works by composers of the 17th or 18th century (; ), and led to accusations of "trivializing musicology" . Other historicist neobaroque composers include Elam Rotem, Federico Maria Sardelli, Joseph Dillon Ford, and Grant Colburn. See also Single affect principle References Further reading Contemporary classical music