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Schoenberg (1874-9151) practically invented 20th century music, or at least freed it from the spell of Romanticism, and his famous Chamber Symphony 1 fairly started the revolution. His rejection of tonality, however, does not mean the rejection of structure or the possibility of other ways music can be pleasing. This can be seen (or heard) more readily in Concerto for Piano and Orchestra (1942) where a 12-tone row is established early on--but so is a precise logic of form and evolution of theme. It's as if Schoenberg was operating on an intuitive sense of mathematics which, strangely, works.
-- Paul Cook
