Developments particular to German society and culture established the conditions in which the oratorio could regain its former prominence for one last time. The dissertation analyzes early 19th-century theories of cultural nationalism and Kunstreligion that formed the intellectual background for the renewed interest; discusses music festivals as the institution at which cultural theory became practice; focuses on works by Friedrich Schneider, Spohr, Loewe, and Mendelssohn—works that dominated the contemporary repertory, contributed most to stylistic developments, and stimulated critical debate; and discusses problems of methodology pertaining to genre studies.