Isaac Morley was born in 1786, in the Atlantic seaboard city of Salem, Massachusetts. He received the common school education provided by the New England Schools. When the time came for his marriage, he was founded in a trade and was a mature man. Like his father, Isaac learned the trade of cooper and wheelwright, learned to plant and sow, to reap a harvest, and to care for cattle and sheep.He served his country with the Ohio Militia in the War of 1812. In 1830 he heard Mormon elders preach the gospel for the first time. He was convinced of the truthfulness of the message and was baptized seven months after the Church of Jesus Christ of Latter-day Saints was organized. He was ordained a high priest in June, 1831, and on the day of his ordination, Isaac was called to serve with Edward Partridge in the first presiding bishopric of the Church.

The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those two men. Short biographies of Tulou and Altes were presented. Discussion of interim professors Victor Coche and Vincent-Joseph Dorus was included, with focus on the role of these two men in bringing acceptance of the Boehm system flute to the Conservatoire. Tulou's fifteen Grands Solos were compared in form, key center and tonal progression. His themes and passagework are constructed to best display the conical-bore, old system-flute with small toneholes. His Solos continued to be used for the Concours, in alternation with Altes', throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's Cinquieme Grand Solo was used for more detailed analysis and performance. Altes wrote his Solos de Concours for the Boehm system flute. Idiomatic treatment in composition of themes and passagework, as well as tonal progression in his Solos, was considered. Altes' Methode de flute reveals his views on variety in articulation, use of alternate fingerings, and musical interpretation. Those ideas are reflected in the construction of his Cinquieme Solo de ronrnwr. the example used for more detailed analysis and performance. The discussion was concluded by a comparison of the Solos of Tulou and Altes with regard to form, tonal progression, and idiomatic construction of themes and passagework.