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The use of natural horn and its technique has greatly diminished since the invention of the valved horn in the 19th century. While there have been groups of composers and hornists who continue to advocate for the natural horn, it has become a specialty instrument whose study is often non-comprehensive or relegated to a short period of time. Since the beginning of the 20th century, there have been composers utilizing the natural horn and its technique, legitimizing its continued importance and providing new landscapes of creative expression that were, for a long while, exclusive to the valved horn. The pieces surveyed in this treatise, Villanelle by Paul Dukas, Serenade for tenor, horn, and strings by Benjamin Britten, Prelude for Horn by Randall Faust, Elegia by Hermann Baumann, September Elegy by Jeffrey Agrell, and “Ghost Circles” from Supernatural by Jay Batzner, were chosen because of their historical significance for the horn, their pedagogical value, and their exploration into different mediums of horn performance. This treatise will provide important historical and biographical information about these pieces and their composers, discuss important features about the pieces, and provide performance suggestions relating to the natural horn and its technique. Additionally, this treatise will cover the overtone series, how the valved horn eased the process of navigating the range and chromaticism of the horn, and how modern natural horn writing has become integrated into solo literature.