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===20th century=== [[File:Philip Glass 003.jpg|thumb|upright|[[Philip Glass]] in Florence, 1993]] The New York classical music scene included [[Charles Griffes]], originally from [[Elmira, New York]], who began publishing his most innovative material in 1914. His early collaborations were attempts to use non-Western musical themes. The best-known New York composer was [[George Gershwin]]. Gershwin was a songwriter with [[Tin Pan Alley]] and the [[Broadway theatre]]s, and his works were strongly influenced by [[jazz]], or rather the precursors to jazz that were extant during his time. Gershwin's work made American classical music more focused, and attracted an unheard of amount of international attention. Following Gershwin, the first major composer was [[Aaron Copland]] from Brooklyn, who used elements of American folk music, though it remained European in technique and form. Later, he turned to the ballet and then [[serial music]].<ref name="Struble">Struble, p. 122.</ref> [[Charles Ives]] was one of the earliest American classical composers of enduring international significance, producing music in a uniquely American style, though his music was mostly unknown until after his death in 1954. Many of the later 20th-century composers, such as [[John Cage]], [[John Corigliano]], [[Terry Riley]], [[Steve Reich]], [[John Adams (composer)|John Adams]], and [[Miguel del Aguila]], used [[modernism|modernist]] and [[minimalism|minimalist]] techniques. Reich discovered a technique known as [[phasing]], in which two musical activities begin simultaneously and are repeated, gradually drifting out of sync, creating a natural sense of development. Reich was also very interested in non-Western music, incorporating [[music of Africa|African rhythmic]] techniques in his compositions.<ref name="autogenerated1">Struble, ''The History of American Classical Music''.</ref> Recent composers and performers are strongly influenced by the minimalist works of [[Philip Glass]], a Baltimore native based out of New York, [[Meredith Monk]], and others.<ref name="Unterberger">Unterberger, p. 1β65.</ref>
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