This book sheds light on the theory and practice of composition in Munich at the turn of the 20th century. A particular focus is placed on a circle of composers known as the Munich School. The composer and music educator Ludwig Thuille is still regarded today as a central figure of the Munich circle, whose stylistic approach can be described as post-romantic composition in the tradition of Wagner. The study addresses the following questions: How was compositional technique taught at that time, and what music-theoretical premises were used? How did the teaching practices in Munich relate to composition theory at other universities? To what extent can the harmony theory published by Thuille in 1907 together with Rudolf Louis be traced back to Munich practices? In addition to Thuille's autograph notes, posthumous documents will also be examined.