The contemporary scene is immensely varied. In the United States, where Schoenberg, Stravinsky, Bartók, Hindemith, Milhaud, Martinu and many others took refuge from the turmoil of Europe, new generations of American composers have found new voices. Carter, Elliott (b.1908) has always been a figure of some independence in American music, whether under the influence of Ives, in adolescence, of Boulanger in Paris or, in later years, of the American and European avant-garde, with all trends absorbed into his own original work. Philip Glass (b.1937) won popularity with his early minimalism, based on the systematic repetition of a motif, modified or extended, and in post-minimalism. John Adams (b.1947) has established a reputation, moving from minimalism to his own distinctive musical language. Corigliano, John (b.1938) has developed further the musical language of composers such as Samuel Barber, Aaron Copland and their contemporaries, followed by a period of wider experiment in the use of more varied musical materials. There has, at the same time, been a revival of interest in composers previously neglected by the academic musical establishment. After Schnittke (1934-1998) in Russia, freed from the conventions of the Soviet era, Gubaidulina (b.1931) has been able to experiment with serialism, electronic elements, within a relatively traditional context. Others to benefit from political changes have been Penderecki (b.1933) and Gorecki (b.1933) in Poland, Ligeti (b.1923), who moved from Hungary to Vienna, and the Estonian Pärt (b.1935), with his interest in earlier musical traditions and strong religious feelings. In Germany Stockhausen (b.1928) continues his experimental course, moving from total serialism to a more flexible approach. His near contemporary Henze (b.1926) has made distinctive use of serialism, absorbing also the influence of Stravinsky. In France Boulez (b.1925), distinguished also as a conductor, has significantly extended the principles of serialism and explored electronic possibilities and the aleatoric, exercising a strong influence over some younger musicians. In Britain Maxwell Davies (b.1934) pioneered a new form of music theatre, later developing a less experimental style, also writing works associated with the community in which he lives. His contemporary Harrison Birtwistle (b.1934) shows a personal musical language reflecting influences from Stravinsky, Varèse, Webern, Messiaen, Boulez, and Stockhausen, brought together into a remarkable synthesis, with his own innovative approach to drama in music. Younger composers continue to experiment with the large range of resources open to them, absorbing, extending or rejecting earlier influences.
