Author Credentials

Sister Joseph Sarto Squire

Date of Award


Document Type


Superseded Degree Name

Master of Music

Colleges & School

Cardinal Stritch College

Degree Granted By

University of Wisconsin-Milwaukee

First Advisor

John D. Seuss

Library of Congress Subject Heading



For use in this study, "neoclassicism" will be defined as a trend in twentieth-century composition which is characterized by involvement with or interest in certain artistic principles usually associated with music of the classical, baroque, or earlier periods. These principles will be limited primarily to concern for formal structure, order, and clarity. Since this paper is directed primarily toward an investigation of four specific works from the viewpoint of their "neoclassical" tendencies rather than an exposition of the term "neoclassicism," the depth with which "neoclassicism" could be discussed will necessarily be limited to these aspects. A refinement of the definition of "neoclassicism" will come from a study of the works themselves. The specific works selected for use in this study are: 1. Bela Bartok, Suite, Op. 14 (1916). 2. Paul Hindemith, Suite for Piano '1922' Op. 26 (1922). 3. Arnold Schoenberg, Suite, Op. 25 (1924) 4. Igor Stravinsky, Serenade en la (1925). These four suites for piano solo were deliberately chosen because they illustrate some of the diversity of directions of twentieth-century composition during a very critical ten-year period in the history of music, 1915-1925. The four composers represented here are generally accepted as major figures in early twentieth-century music. A brief introduction to the piano music in general of Bartok, Hindemith, Schoenberg, and Stravinsky during the period 1915-1925 will be included with emphasis on the four suites for piano solo. Various movements of the suites will be discussed from the viewpoint of elements which indicate a "neoclassical" approach to music.


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