Works featuring musically-untrained children form a uniquely large and important part of the output of Benjamin Britten (1913-1976). Some of these pieces are polytechnical, which is to say they feature professional musicians alongside musicallyuntrained children. This thesis examines the ways in which Britten made technical adjustments when writing these works. These were necessary for the children to be able to perform them. A detailed analysis of the relevant vocal and instrumental music was undertaken, with some of Britten’s other works analysed for comparison. The results of these analyses demonstrate the methods and extent of these technical adjustments. By examining Britten’s own writing about music and relevant critical literature, this thesis also concludes that in making these technical adjustments, Britten in no way compromised the integrity of his voice as a composer. This thesis demonstrates that it is therefore possible for a composer to write music of the highest artistic integrity, but still make technical adjustments to allow for the skills of the performers availabl