Editing New Objectivity (section)

==Music==
{{See also|Neoclassicism (music)}}
New Objectivity in music, as in the visual arts, rejected the sentimentality of late [[Romantic music|Romanticism]] and the emotional agitation of expressionism. Composer [[Paul Hindemith]] may be considered both a New Objectivist and an expressionist, depending on the composition, throughout the 1920s; for example, his [[wind quintet]] ''{{lang|de|[[Kleine Kammermusik]]}}'' Op. 24 No. 2 (1922) was designed as ''{{lang|de|[[Gebrauchsmusik]]}}''; one may compare his operas ''[[Sancta Susanna]]'' (part of an expressionist trilogy) and ''{{lang|de|[[Neues vom Tage]]}}'' (a parody of modern life).<ref>Albright 2004, p. 278</ref> His music typically harkens back to [[Baroque music|baroque]] models and makes use of traditional forms and stable [[Polyphony|polyphonic]] structures, together with modern dissonance and [[jazz]]-inflected rhythms. [[Ernst Toch]] and [[Kurt Weill]] also composed New Objectivist music during the 1920s. Though known late in life for his austere interpretations of the classics, in earlier years, conductor [[Otto Klemperer]] was the most prominent to ally himself with this movement.