In this dissertation, I study four choral works by Dr. Zanaida Stewart Robles through musical, thematic, and theoretical analysis to synthesize her compositional style. In addition to analysis, I created supplemental educational guides for each piece. These guides are intended to facilitate an intentional teaching process that leads to meaningful performances that engage the community. I investigate Robles' intersectional approach to composition as it reflects her identity as a Black, female composer. This project contextualizes Robles' voice and her impact on 21st-century choral music. I selected four works for study—"Umoja," "No Fairy Tale Here," "Can You See?" and "Psalm 61"— to represent three overarching themes in her oeuvre: spirituality, mental health awareness, and social justice. This research provides greater insight into Robles' choral works and serves as a thought-provoking introduction to commissioning works from underrepresented communities.

In his Southern Harmony collection, William Duckworth extracts existing material from shape-note hymns found in William Walker's 1835 publication A Southern Harmony and Musical Companion. He then applies minimalist and postminimalist processes to this material to create innovation choral compositions. This document provides a comprehensive analysis of the methods used to construct all twenty works in Duckworth's collection by tracing the extracted source material through the fabric of the new compositions. This study provides substantial evidence of Duckworth's place as a pioneer of the postminimalist genre. It also provides a discussion on the vocal implications of utilizing shape-note hymns as source material as traditional performances of the genre are typically associated with a unique vocal style.

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.