This chapter explores Pauline Hall’s Suite for Wind Quintet (1945) as a neoclassical work that exemplifies Neue Sachlichkeit aesthetics through its use of irony, stylistic sobriety, and references to popular music. Drawing on the influence of French and German modernism, Hall blends classical forms with elements from popular dance and film music, challenging the boundary between high and low art. Particular attention is given to the role of banality as a critical and polyvalent category, rather than a negative trait. The study argues that Hall’s work illustrates how Neue Sachlichkeit enabled the revaluation of the everyday and the banal, offering a framework to reassess popular elements within twentieth-century art music.