French composer whose, unconventional, often witty style exerted a major influence on 20th-century music, particularly in France. Satie's music represents the first definite break with 19th-century French Romanticism; it also stands in opposition to Impressionism. Closely allied to the Dada and Surrealist movements in art, it refuses to become involved with grandiose sentiment or transcendalism, disregards traditional forms and tonal structures, and typically takes the form of parody, with flippant titles, such as Trois morceaux en forme de poire (Three Pieces in the Shape of a Pear) and Embryons Desséchés (Desiccated Embryos), and directions to the player that mock those of the Impressionists such as; “light as an egg.”

Satie's flippancy and eccentricity, an intimate part of his musical aesthetic, epitomised the avant-garde ideal of a fusion of art and life into an often startling but unified personality. He sought to strip pretentiousness and sentimentality from music and thereby reveal an austere essence. This desire is reflected in piano pieces such as Trois Gnossiennes (1890), notated without bar lines or key signatures. Other early piano pieces, such as Trois Sarabandes (1887) and Trois Gymnopédies (1888), use then-novel chords that reveal him as a pioneer in harmony. His ballet Parade (1917; choreographed by Léonide Massine, scenario by Jean Cocteau, stage design and costumes by Pablo Picasso) was scored for typewriters, sirens, airplane propellers, ticker tape, and a lottery wheel and anticipated the use of jazz materials by Igor Stravinsky and others. The word Surrealism was used for the first time in Guillaume Apollinaire's program notes for Parade. Satie's masterpiece, Socrate (1918), for four sopranos and chamber orchestra, is based on the dialogues of Plato. His last, completely serious piano works are the five Nocturnes (1919). Satie's ballet Relâche (1924) contains a Surrealistic film sequence by René Clair; the film score Entr'acte, or Cinéma, serves as an example of his ideal background, or “furniture,” music.

Satie was dismissed as a charlatan by musicians who misunderstood his irreverence and wit. They also deplored the nonmusical influences in his life - during his last 10 years his best friends were painters, many of whom he had met while a café pianist. Satie was nonetheless deeply admired by composers of the rank of Darius Milhaud, Maurice Ravel, and, in particular, Claude Debussy - of whom he was an intimate friend for close to 30 years. His influence on Impressionism, although he mocked it, and on the later school of Neoclassicism was profound.