In my thesis, I examined Suite Française in the context of 20th-century piano music, composed by one of the most renowned French composers of the 20th century, Francis Poulenc. His body of work encompasses a variety of pieces including songs, piano works, chamber music, choral works, operas, ballets, and orchestral music. Despite this diversity, Poulenc clearly held a particular fondness for two instruments: the piano and the voice. His compositional style is characterized by melodic simplicity and harmonic inventiveness. Francis Poulenc was a member of the group "Les Six," which included Darius Milhaud, Arthur Honegger, Georges Auric, Germaine Tailleferre, Louis Durey, and Poulenc himself. The group was formed as a reaction against the dominance of Impressionism and Romanticism, seeking a simpler and clearer musical expression. Suite Française was a faithful reinterpretation of melodies by the 16th-century Renaissance composer Claude Gervais, drawn from Le livre de danceries. It is an orchestral suite for wind instruments, percussion, and harpsichord, consisting of seven movements, each reflecting a characteristic Renaissance dance form. Poulenc’s second movement, Pavane, is marked by a slow tempo and melancholic, wistful tone, distinguishing it from the other movements.In contrast to Poulenc’s suite, which adheres to simplicity and spirituality, his contemporaries like Stravinsky or Ravel adopted a more modern approach. Through Suite Française, Poulenc blended classical forms with modern expression, leaving a profound mark on 20th-century piano music.