One of the basic qualities of the XX Century musical art – a new attitude towards the sound, which is different from the tradition one, as towards a self-sufficient, self-valued phenomenon, is a common and unifying principle for different artistic and creative individuality of the modern and avant-garde periods.
The purpose of the article is to present only a small part of the diversity of innovation that is connected with one of the elements of the musical language, associated with the sound-pitch parameters. In addition, it is not limited to the role of the element of composing techniques representing aesthetic and artistic-content aspect of the work. The interest towards creation of sound-pitch structures, which are different from traditional ones, more widely speaking, an interest to a new attitude towards the sound are those artistic processes that have been going on synchronously and frequently independently in the works of the western and easterns composers.
It should be noted that academic music exported from Europe to America, returned to Europe qualitatively renovated in the second half of XX century. It is important that the composers working in the United States created the artistic reality free from centuries-old historical consciousness which were open to creative experiment.
Thus, the principles of academic music of the European tradition, enriched with new resources in the USA, returned to Europe. These creative processes took the form of an infinite chain.