Abstract:
Eric Whitacre has been recognized as one of the most prominent choral composers of the
twenty-first century. Although his compositions feature the frequent use of chords and clusters
that would traditionally be considered dissonant, he is able to avoid the perception of dissonance
through specific compositional techniques, allowing his works to remain accessible and
attainable to audiences and performers alike. This study explores the influence of Whitacre’s
compositional techniques in the works of more recent composers. Using analytical techniques
identified by Andrew Larson for exploring textural density, chord construction based on the
harmonic series, and smooth voice leading techniques, there is compelling evidence of
Whitacre’s influence displayed in the sampled works of emerging composers Michael J. Mills,
Alex Berko, Timothy C. Takach, and Theodore Hicks. Using side-by-side examples and
synthesized analytical techniques, the analysis primarily compares three choral works of
Whitacre (“Go, Lovely Rose,” “A Boy and a Girl,” and “Sleep”) with a composition from each
of the subsequent composers. The analysis suggests that Whitacre’s influence is strong, but each
composer uses the techniques in different ways to give voice to their own unique compositional
style.
