The proponents of Schoenberg’s twelve-tone technique took it as proof that they had been right all along when near the end of his career, and only after Schoenberg’s death, Stravinsky experimented with twelve-tone composition. There was a good deal of animosity between the two composers, a fact that was well-known at the time, just as there was tension in the musical community between the supporters of their two compositional styles. It is interesting to note that both men, as a result of upheaval in Europe and Russia, not only made the United States their home but lived a short distance from each other in Los Angeles for years. He and Schoenberg represent two major streams of compositional thought in the modern era: Schoenberg’s twelve-tone atonality on the one hand and Stravinsky’s neo-classicism (the style in which he wrote a good deal of his music, though not Rite of Spring) on the other. Igor Stravinsky is a towering figure of twentieth century music.