The structure of this recital document is based on the application of classical forms of analysis to the appropriate musical selections of the Masters Recital. No single research strategy fits the scope of all the chapters to follow. Chapter One explores the pedagogical purposes of the Exercises of Vincenzo Righini. After a brief description of who Righini was and what purpose the Exercises were meant to serve, an in-depth examination of the specific vocal skills addressed by Righini is developed. The chapter concludes that Righini's Exercises, while beautiful, are of limited use in the modern voice studio due primarily to their degree of difficulty. Chapter Two investigates a practical technique for applying theoretical analysis to three of Franz Schubert's water songs in performance. After executing the process on three songs, the chapter concludes that the chosen method of analysis provides a number of practical choices for the performer. Chapter Three presents a biographical sketch of Ernest Chausson, and an investigation of his historical significance. There is a curious reluctance by music critics to accept Chausson as a composer of note, but this chapter concludes that such reluctance fails to take into account Chausson's impact on his fellow composers in Paris. Chapter Four highlights an historical and philosophical discussion of Britten's relationship to folksong in contrast to that of the majority of British composers of the period, as exemplified by Ralph Vaughan Williams. The chapter uses three Britten folksong arrangements to illustrate Britten's departure from the mainstream.