Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of …

Beyond the Binary explores the intersection of gender with cross-cultural identity in composer Reena Esmail's professional life and choral music. This intersection manifests in her musical style, which accesses the resonant spaces between Western and Indian classical music. I argue that it is through the convergence of Esmail's gender identity with her cross-cultural identity that her compositions challenge gender norms and break down perceived barriers between East and West, inviting her listeners into an intersectional feminist space. This project synthesizes musicological, theoretical, and ethnographic methods, and is meant as a starting point for choral musicians and scholars to consider cultural difference and its impact on choral music. What begins as a consideration of social themes within Esmail's life and work culminates in a practical musical analysis and performance practice guide to aid conductors in preparation of Esmail's music. The compositions discussed are I Rise: Women in Song (2016), Take What You Need (2016), TaReKiTa (2016), Tuttarana (2014), and This Love Between Us: Prayers for Unity (2016).

The Evening Service settings of great British composers like Charles Stanford, A. Herbert Brewer, Charles Wood and Herbert Howells are well known and performed often throughout the world. However, little is known about the body of settings created by American composers. There are currently approximately 75 American composers dating from 1890 to the present, with Evening Service settings in print. Joel Martinson, based in Dallas, Texas, is an American composer, church musician, concert organist, and presenter. Although Martinson has composed four Evening Service settings (Evening Service for the St. Mark's School 1996, Evening Service for the Incarnation 2000, Evening Service for Church of the Nativity 2002, and Evening Service for the Transfiguration 2015), these works are not widely known outside of Dallas and small Anglican circles, nor is the value of his contributions to Anglican Evensong repertoire recognized. The purpose of this study is to demonstrate that Martinson's four settings make a valuable American contribution to Anglican repertoire through his neo-classical style and creative counterpoint. The four settings are modern and challenging but remain approachable for both choir and audience.