Machinist Hopkins by Max Brand - expressionist aesthetics present in this master model for Neue Sachlichkeit concept. Expressionist techniques of distortion and surreal visualizations of human imagination.

Weimar culture "shifted from Expressionistic emphasis on technology's oppressive and destructive potential to the New Objectivity's unbridled confidence in technical progress." (177)

Les Choephores (1915) establishes polytonality as a basic premise of Milhaud's musical language. Also moves between rhythmically measures, speech-like choral narrative supported by pitchless percussion and singing styles, a technqiue employed also in Agamemnon (1913-4) and Les eumenides (1917-22).

Les eumenides joins as many as six keys simultaneously eventually reduciing them to C major. Simultaneous tonalities distinguished by differentiated instrumental timbres in what would otherwise be perceived as nonfunctionally superimposed dissonances.

Le boeuf sur le toit (1919) intended to accompany Carlie Chaplin film but never did. Sequence of distinct musical themes of pop character imbued with humorous, light polytonality.

La creation du monde (1923) uses jazz for a chamber-msic work. Instrumentation characteristic of jazz ensemble of time expanded into large chamber ensemble of woodwinds, brass, piano, percussion, strings with sax instead of viola. Bach-ike fugues. Mosaic-like planes manifested in accomapnying ostinato patterns typical of Milhaud's French neoclassicism. Also trademark polytonality.

(p. 248-52 Antokoletz Twentieth Century Music)