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The presence of many young talented composers outside Greece, studying in   prominent European music centres during the 1920s and 30s, set them free from   the ideological compulsions of Greek musical nationalism prevailing in   Athenian musical life during the first decades of the 20th century. The   creative approach and adoption of aspects of musical modernism, having been   established around the same period in western music, are subsequently   commented upon in the works, style and ideology of four different Greek   composers: the pioneer of atonality and twelve-note technique in Greece,   Dimitri Mitropoulos (1896-1960); the innovator and descendant of the Second   Viennese School, Nikos Skalkottas (1904-1949); the ardent supporter of   timbral innovation into new instruments and ensembles, Dimitrios Levidis   (1886-1951); and, finally, the ascetical and secluded Harilaos Perpessas   (1907-1995), another pupil of Schoenberg in Berlin

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Diverging from an established Greek musical nationalism: Aspects of modernism in the works of Dimitri Mitropoulos, Nikos Skalkottas, Dimitrios Levidis and Harilaos Perpessas, during the 1920s and 30s