Summary: Belgian composer Joseph Jongen (1873-1953) was an eclectic composer who successfully maintained his own unique musical vocabulary-particularly in his piano compositions. Jongen composed very little between 1940-1941-the period in which he and his family fled to the countryside of Mazeres, France, living as refugees for several months before returning to Sart-lez-Spa, Belgium, due to the outbreak of WWII. Reflective of this time in his life, Vingt-quatre petits preludes dans tous les tons pour piano, op. 116 is composed in a particularly intimate and despairing way. Through a complete Schenkerian analysis and outline of the musical framework of op. 116-Jongen's last collection of piano pieces-this dissertation sheds light on the technique, imagination, and uniqueness of Jongen's WWII-period piano compositions. More specifically, this research outlines the deep-level tonal and formal structures, investigates the cryptic semantic meaning and intimate personal expression, and defines the aesthetic achievements of Jongen's Twenty-four Little Preludes in All Keys for Piano, op. 116.