‘Richte mich, Gott' exemplifies Jaakko Mäntyjärvi's pluralistic compositional approach through an interlaced organization of tonal and non-tonal pitch content. The development of ideas in the text of Psalm 43 and the concluding doxology is depicted across both layers of pitch organization and governed by specific structural pitch collections: (0145) and (0257). Moreover, the organic transformation of these structural pitch collections' intervallic content emerges as a fundamental means of progression throughout the work, in turn influencing the intervallic content of surrounding tonal material. This process of transformation and its relationship to the text is revealed through tonal and pitch-class analysis; a flexible approach to segmentation; and an exploration of two-way and three-way symmetry, and the disruption thereof, in pitch space and pitch-class space. An understanding of the interrelationship between pitch material from the tonal and non-tonal layers of pitch organization can aid singers, conductors, and analysts in the efficacy of their study, preparation, and performance of the psalm. The accompanying appendix of targeted choral warm-ups in this document offers choirs a practical method for studying, internalizing, and performing the non-tonal pitch content in the work.

The Choral Music of Elaine Hagenberg explores the oeuvre of composer Elaine Hagenberg through a musicological, qualitative, and performance-based analysis of her compositional style that has led to her increasing acclaim. This study serves as the first primary source of scholarly output on her. Through an examination of her musical background as a pianist and choral educator, one can identify her principal sources of musical inspiration: text, nature, and her faith. Shaped by these experiences, her compositional philosophy encapsulates five elements of text, form, rhythm, melody, and harmony as she strives to produce singer-centric, authentic, and socially relevant compositions that unite people together. What begins as a consideration of her background and compositional process culminates in practical musical analysis and conducting and vocal considerations to aid future conductors in creating compelling performances of her works. The compositions discussed are As The Rain Hides The Stars (2015), O Love (2016), Song of Miriam (2019), My Companion (2019), and Alleluia (2020).

Written for and featuring the Barcelona Clarinet Players, Caribbean Berceuse (2021) is Paquito D'Rivera's (b.1948) first composition for wind band. Along with idiosyncratic expectations of fusing jazz and classical elements according to D'Rivera's oeuvre, the title implies extramusical associations in the composition. This analysis demonstrates how extramusical associations interact with thematic development by using five codes of meaning from Roland Barthes's (1915–1980) S/Z (1970), which was first applied to music by Patrick McCreless. In addition to D'Rivera's cultural references, this composition involves musicians from many different cultures and backgrounds: the Barcelona Clarinet Players of Spanish heritage, Paquito D'Rivera of Cuban heritage, and the North Texas Wind Symphony under the direction Eugene Migliaro Corporon as an American melting pot. My analysis demonstrates how D'Rivera incorporates shared experiences of a lullaby as an access point for listeners. Our experience of falling asleep creates dichotomous structures of reality and fantasy, of time and memory, and sometimes of a restless lullaby among others. Roland Barthes places the most importance on these extrinsic dichotomous structures as deeper meanings of referential associations. He names this symbolic code. Although McCreless places less importance on symbolic code as correlating to music, my analysis will demonstrate how the interaction …

Award winning composer Kevin Walczyk's describes himself as a "musical storyteller," using all musical elements of structure, melody, harmony, and counterpoint to convey programmatic content. A variety of subjects are conveyed that include historical events, people, physical objects or locations, and literary texts. Deeper matters, such as spiritual themes, are also often incorporated in his music that enhance the musical program. The technical procedures employed—pertaining particularly to the expression of programmatic content—has produced a unique musical language that stands out in the modern compositional landscape. What are these inherent idiomatic features, and how are they exhibited? The purpose of this dissertation is to provide a detailed examination of Walczyk's distinct musical language. A critical analysis of the technical procedures used to convey his programmatic content, as well as insights into his influences and writing process, illuminate the attributes of this a posteriori musical language. The two works selected for this study to demonstrate this are Symphony No. 2: Epitaphs Unwritten and Talking Winds, both written for wind band.