In the creative landscape of twentieth-century serious music, the pursuit of novel compositional techniques often becomes a controversial process. The author takes his own creative experiences as well as observation of the cultural environment as the starting point of view, with an attempt at philosophical deduction to underline the phenomenon of “emotional vacuum in technique” that is so unique in the field of twentieth-century serious music. Based on this viewpoint, selected topics such as “chromaticism” in the first decade of the twentieth century, “twelve-tone” technique, and "noise" as the conceptual deconstruction of musical materials, are being examinated. In conclusion, the author proposes “the return of subjectivity” as a way of self-prospect for the serious art composers at the dawn of a new century.