Because there is always a transition period between musical and artisitic eras, such as from the Romantic Era to the Modern Era, some of the following composers are found in the new course Music Appreciation of the Romantic Era for High School.

More 20th Century American Composers

• John Adams
• Milton Babbitt
• Samuel Barber (Adagio for Strings and Violin Concerto)
• Amy Beach (in the Romantic Era course)
• William Bolcom
• Henry Cowell
• Ruth Crawford Seeger
• William Grant Still
• James Horner (“Titanic” soundtrack)
• Libby Larsen
• Edward MacDowell (in the Romantic Era course)
• Alan Menken
• Steve Reich
• Ned Rorem
• Randall Thompson
• Joan Tower
• Pop styles such as Contemporary Christian, alternative rock, bluegrass, country, reggae, disco, rap, and metal

More 20th Century European Composers

• Georges Auric (receives a mention in the Romantic Era course)
• Klaus Bedelt (Pirates of the Caribbean movie soundtrack)
• Luciano Berio
• Pierre Boulez (Le Marteau sans maitre)
• Ferruccio Busoni
• Carlos Chavez
• Frederick Delius (Brigg Fair) (in the Romantic Era course)
• Maurice Durufle
• Edward Elgar (Pomp and Circumstances marches) (in the Romantic Era course)
• Gabriel Faure (Requiem) (in the Romantic Era course)
• Arthur Honegger (receives a mention in the Romantic Era course)
• Leos Janacek (opera Jenufa)
• Gyorgy Ligeti (Lux aerterna)
• Witold Lutoslawski (Preludes and Fugue)
• Darius Milhaud (Le Creation du Monde) (receives a mention in the Romantic Era course)
• Carl Nielsen
• Krzysztof Penderecki (Threnody: To the Victims of Hiroshima for 52 Strings)
• Francis Poulenc (Gloria) (receives a mention in the Romantic Era course)
• Silvestre Revueltas
• John Rutter (Gloria)
• Eric Satie (Gymnopedies) (in the Romantic Era course)
• Aleksandr Scriabin
• Karlheinz Stockhausen (Gesang der Junglinge electronic music)
• Germaine Tailleferre (receives a mention in the Romantic Era course)
• Michael Tippett (A Child of Our Time)
• William Walton
• Kurt Weill (The Threepenny Opera, “Mack the Knife”)

“The public doesn’t want new music; the main thing that it demands of a composer is that he be dead.” –Arthur Honegger (1951)