Something of extensive traditional training, Théodore Dubois was a characteristic representative lately nineteenth century People from france musicians. Although he made up prolifically, his functions weren’t generally well-received for their tightness and insufficient emotional depth. He’s most widely known for his superb theoretical text messages which remain widely analyzed by composition college students. After early teaching with Louis Fanart, choirmaster in the cathedral in Rheims, Dubois continuing his musical research on the Conservatoire in Paris. Upon earning the Prix de Rome in 1861 and with the encouragement of Franz Liszt, he came back to teach on the Conservatoire from 1871 to 1890. Throughout that period, he also offered as maitre de chapelle at Ste Clotilde where he created his most widely known oratorio, Les sept paroles du Christ, on Great Fri, 1867. Although his comic opera La Guzla de l’Emir was offered by the Théâtre de l’Athénée in 1873, Dubois needed to articles himself with delivering the majority of his functions at less essential Parisian locations. In 1877, he changed Camille Saint-Saëns as organist on the Madeleine so when he earned the prize on the Concours Musical in 1878 his oratorio, Le paradis perdu, was performed in Paris at open public expense. Being successful Ambrose Thomas as movie director from the Conservatoire in 1896, Dubois kept that placement until 1905. While there, he had written three of his six books on structure and tranquility including Characteristicé de contrepoint et de fugue which continues to be trusted by composition learners. After departing the Conservatoire, Dubois constructed a number of functions including three symphonies and many motets for tone of voice and body organ. He also finished his last theoretical text Characteristicé d’harmonie théorique et pratique in 1921 and continuing to reside in Paris until his loss of life in 1924.