Of all the composers of German Lied, Franz Schubert and Hugo Wolf can be considered the true giants of this musical form. Schubert's position is secure as the greatest composer of the Lied. Wolf, though challenging Schubert in this particular idiom only, brought the Lied to its culmination. This study will show, by comparative analysis, the respective treatment by Fr anz Schubert and Hugo Wolf of selected poems by Johann Wolfgang von Goethe. Though Schubert composed some seventy songs (not including multiple settings of the same text), and Wolf fifty-one, based on the poetry of Goethe, they shared only thirteen of these poems in common. Four songs by each composer have been selected for detailed analysis.

The purpose of this study is to describe contemporary plans for training the boy's changing voice and to prescribe ensemble material for these voices. Specific Problems: Analysis of the general problem leads to subordinate questions, or sub-problems, which may be stated as follows: 1. What are the contemporary plans of training the boy's changing voice? 2. What are the most usable musical materials available for use by ensembles which include boys with changing voices?

The harmonic practices of the late romantic period are often discussed in general terms, categorical phrases, and a score of subjectivisms characteristic of the era. It is the purpose of this thesis to clarify certain aspects of the harmonic vocabulary which developed in the late romantic period.