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)

First example of cubism in music and dance. 1917. Ballet realiste intended as reaction to refinement and vaguesness of impressionism, strained relations b/t Satie and Debussy. Instrumentation and style reflect Satie's "anti-romantic" "anti-impressionistic" clarity, simplicity, objectivity. Sound is percussive and brassy elaborated by scoring of everyday noise typewriters, airplane propellers, sirens, lottery wheels (perhaps Italian Futurists influence). Layers of mechanically repeated patterns that proceed in disconnected, static succession of small block-like sections, mosaic-like fabric, limited and spare instrumental coloration. Passages of syncopated jazz, pop themes, fast waltz, fugal exposition. (p. 246, Antokoletz, Twentieth Century Music)

On of most characteristic and significant of Satie's late works, epitome of simplicity, balance, unassuming objectivity, strong literary orientation. Socrate for 4 sopranos, piano, chamber orchestra including cor angais, horn, trumpet, harp, kettledrum, strings. emotionally detached vocal setting. harmonic transparency, linear distinctness, emotional detachment provide aesthetic and stylistic foundation for new generation in France (Les Six, neoclassicism). (p. 247 in Antokoletz, Twentieth-Century Music)