This lecture-recital represents the investigative research on the solo piano music of Joaquín Rodrigo, a repertoire that dates from 1923 to 1987. A biographical sketch of the composer precedes a general overview of his twenty-three solo piano works. Discussion of musical trends that influenced Rodrigo provides a context for tracing his development as a composer. Analytical descriptions from Rodrigo’s early piano work, the Suite para piano of 1923, demonstrates how Rodrigo incorporated early 20th century compositional techniques into his own style. Although Rodrigo alludes to Spanish nationalistic ideas in his music prior to 1931, his predominate musical language is more congruent with European compositional trends, popular during this period. It is in the Serenata española of 1931 where the use of Spanish folklore becomes more pronounced in Rodrigo’s musical language. Descriptive analyses of the Serenata española of 1931, as well as of selected movements from Cuatro piezas españolas (1936-1938) and Cinco sonatas de Castilla, con toccata (1950) demonstrate not only Rodrigo’s musical language and fully developed pianistic style, but most importantly his use of folklorismo—incorporation of folklore, music and culture. Although similar in certain aspects to the Spanish traditional style of Albéniz, Granados, Falla and Turina, Rodrigo’s approach is also distinctive. In order to appreciate the similarities and contrasts between the traditional uses of folklorismo and Rodrigo’s use of folklorismo, a brief historical overview of 20th century Spanish Nationalism ensues. Rodrigo’s contributions derive from a successful synthesis of Nationalism and unique pianistic style.