A revival, in 20th-century compositions, of 18th-century (or earlier) musical ideas.

Neoclassicism has been associated with many of the post-World War I works of both IGOR STRAVINSKY and ARNOLD SCHOENBERG, but it was anticipated by French composers at the turn of the century. When the harmonic richness of IMPRESSIONISM reached its saturation point, it became clear to many composers that further amplification of coloristic devices was no longer stimulating or novel. This artistic reaction coincided with the European economic collapse following World War I, so that it became financially impossible to engage large orchestras or grandiose operatic companies.

The cry went all over Europe, "Back to Bach!" To this was added the slogan of NEW SIMPLICITY. But the past could not be recaptured in its literal form, and the new movement was launched under the name of neoclassicism.

Neoclassicism is characterized by the following traits:

• a return to the DIATONIC scale and associated harmonies
• elimination of all programmatic and ROMANTIC associations either in the titles or the tonal content of individual works
• a revival of the BAROQUE forms of SONATA, SERENADE, SCHERZO, PASSACAGLIA, TOCCATA, CANON, FUGUE, and the florid type of VARIATION
• cultivation of compact forms, such as symphonies and sonatas in one movement and operas without a chorus and with a reduced orchestral contingent (usually containing 13 instruments)
• reconstruction of old Baroque instruments, particularly the HARPSICHORD, and their employment in modernized classical techniques
• restrained use of ornamentation; very little thematic development or RECAPITULATION

Depending on your point of view, neoclassicism was either a dangerously conservative trend or a healthy turning away from the excesses of both ROMANTICISM and ultra-MODERNISM.

Other 20th-century revival movements include neomedievalism, which reclaims medieval techniques for modern composition; neomodality, a return to using the ancient system of MODES; neoprimitivism, a revival of "primitive" or folk/traditional musical forms; neoromanticism, works embodying 19th-century musical ideas, such as programmatic content and orchestral color.