The purpose of this thesis was to describe the historical and educational implications of composition contests for wind bands and to analyze the two award winning works from the 2007 Ticheli Composition Contest: Whirlwind by Jodie Blackshaw and Shadow Rituals by Michael Markowski. A detailed performance analysis of each work included: (a) program notes, (b) historical/programmatic background material, (c) a formal analysis, (d) technical considerations for rehearsal, and (e) conducting challenges. I concluded that different methods of structure were used in the composition of these two new works for beginning and intermediate wind band. The Ticheli Composition Contest was found to be the only one of five contests that awards composers for works written for beginning and intermediate ensembles. Whirlwind was found to be structured around meter, shifting from free time to structured 3/4 time and back to free time. The entirety of the work is based on a four-note melody that is presented in solo, duet, and round form. Expression, style, and tone color were the primary foci of this work. Shadow Rituals was structured around key relationships. Markowski shifts key areas by both consonance and dissonance. This relationship is set up by the altering consonant and dissonant dyads created by the melodic line and accompanimental figure of the opening theme. The minor third is prevalent throughout the work, appearing intervallically in melodic material, as well as harmonically in tonal shifts. Both works were found to have well-conceived formal structures (e.g., rhythmically, melodically, and harmonically cohesive); and to be technically challenging and appropriate for use with beginning and intermediate ensembles.