Linked from

The 27 pages that link to Neoclassicism (music), each with the reason it gives.

• Romantic musicCompared with: Its restraint and historical models reacted against the weight of late Romantic expression.

• Arnold SchoenbergCompared with: Its emphasis on historical models offered a different response to musical modernism.

• Pierre BoulezCompared with: Boulez rejected what he saw as the backward-looking neoclassical response to modernity.

• Second Viennese SchoolCompared with: Its preference for recognizable forms and tonal reference offered a contrasting response to modernist change.

• Impressionism in musicCompared with: Its emphasis on clarity and inherited forms contrasts with impressionism’s suggestive formal outlines.

• Béla BartókCompared with: Bartók’s use of inherited forms shares modernist concerns but draws more directly on folk materials.

• Contemporary classical musicCompared with: Its reworking of inherited forms contrasts with movements seeking to break sharply from them.

• Nadia BoulangerRelated: Boulanger promoted clarity and formal discipline associated with neoclassical music.

• Russian classical musicRelated: Stravinsky's turn toward older forms became a major route from Russian beginnings into modernism.

• Manuel de FallaRelated: Falla’s later works turned toward formal clarity and older models without abandoning modern harmony.

• Darius MilhaudCompared with: Milhaud shared its clarity and interest in older forms, but his music often embraced multiple tonal centers and popular influences.

• Edgard VarèseCompared with: Its return to inherited forms contrasts with Varèse’s attempt to invent a new musical language.

• Paul HindemithRelated: His use of inherited forms connects him with neoclassical currents in twentieth-century music.

• Musical modernismCompared with: It revived older models while remaining a modernist response to Romantic excess.

• Charles IvesCompared with: Its emphasis on clarity and historical models differs from Ives’s crowded textures and American quotations.

• Arthur HoneggerRelated: Its clarity and formal discipline illuminate one strand of Honegger’s varied output.

• William WaltonRelated: Walton’s early music draws on neoclassical clarity while retaining a distinctive bite.

• Common practice periodCompared with: It revisits earlier forms after the common-practice era’s conventions had weakened.

• Francis PoulencNarrower topic: Poulenc’s clear forms and classical references connect him to this movement without defining his whole style.

• Postmodern musicCompared with: Its historical borrowing is more selective and stylistically disciplined than postmodern eclecticism.

• Adagio in G minorCompared with: The Adagio’s modern composition in an older idiom invites comparison with neoclassical practice.

• Arvo PärtRelated: Pärt’s early compositions explored this modern return to historical musical models.

• Ottorino RespighiRelated: Respighi’s use of old music overlaps with neoclassical interests but often favors lush orchestration.

• Bohuslav MartinůRelated: Its clear forms and energetic counterpoint shaped much of Martinů’s mature style.

• Peter Maxwell DaviesCompared with: Davies’s historical borrowings complicate the label: he transformed old materials rather than simply reviving old styles.

• Neue MusikCompared with: It offered a modern alternative based on historical forms rather than rejecting them outright.

• Virgil ThomsonRelated: Thomson’s Paris-era aesthetic favored clear forms and restraint over late-Romantic excess.