Berger studied in New York School and also in Harvard School under Piston. He offered as a teacher at several colleges, like the Juilliard College and Brandeis School. Furthermore to these responsibilities, Berger was a music critic and editor, and a contributor to many documents and peiodocals. Many of these actions were for the intended purpose of broadening his musical understanding and imagination, or to progress American composers. His early affects had been Stravinsky and Schoenberg, and afterwards Webern. One of is own main compositional problems have been that of musical space, vertical and horizontal. He used extremely wide linear leaps such as for example 7ths and 9ths and regarded these to conjunct intervals. His objective within this matter had not been to make abstract sound but to improve the wonder of pitch romantic relationships. Though a diatonic composer in early stages, he frequently displaced and fragmented chords to problem the vertical space. His afterwards works moved from serialism, but he continuing his effort to make spacial effects by using tone-cluster ‘cells’, or pitch classes that are diffused by moving octave arrangements.