This study has two divisions: Part I, an historical and analytical summary of the emergence and development of the divertimento and the serenade in the eighteenth century, and Part II, the culmination of these structures in the works of W. A. Mozart. Two primary purposes are envisioned: 1) to further our knowledge of how German Gesellshafts-musik evolved toward its peak in the second half of the eighteenth century, and 2) to furnish a useful analytical handbook of Mozart's works in these genres.

Both science and empirical knowledge seem to indicate that anatomical considerations relating to potential muscular interference be established at the incipiency of the serious study of voice. Experience shows that if this aspect of vocal development is not pursued with utmost diligence, an early deterioration of the vocal instrument is possible many years before a normal expectancy. It has been discovered, also, that the study of articulation, pronunciation, modulation, emphasis, gestures and interpretation seem to avoid, primarily, the necessity of muscular training, per. This thesis will not include, in detail, the aspects of the use of the breath, except in a perfunctory manner. The same can be said of resonance and diction. It will endeavor, however, to indicate the muscular differences of the singing and swallowing actions. Furthermore, it will advance some suggestions for the avoidance of constrictive muscular influences which might impede the singing musculature. Finally, a phonatory process will be presented for consideration as a muscular mechanism to be made operative in connection with a direct control procedure.