Martin Bresnick, b. 1946, is Professor of Composition at Yale University. His diverse output includes film music, computer music, chamber compositions, choral scores, and orchestral works. For The Sexes: The Gates of Paradise (1998) is a thirty-one minute piece featuring solo piano in partnership with an identically named William Blake work. Blake featured poetry and his own engravings in his 1818 illustrated book: the modern version weaves piano solo with a DVD adaptation of the Blake works, both visual and literary. Adding a further dimension, Bresnick asks the pianist to double as singer, evoking Blake’s untrained voice as he sang his own poetry. This partnership of voice, piano, projection, and poetry follows many other important developments in the field of multi-media composition, dating to Richard Wagner’s 1849 conception of “Gesamtkunstwerke,” or “Total art-work.” Since that time Alexander Scriabin, Olivier Messiaen, Arnold Schoenberg, John Cage, Sergei Prokofiev, and Erich Korngold, among others, have been notable in their fusion of music with other elements including colored light, dance, and film. This document traces the history of multi-media work, paying particular attention to collaborations between music and film. Next, owing a great debt to the work of Nicholas Cook, it establishes a framework for the evaluation of multi-media composition, evoking a linguistic term called the “Metaphor Model” first developed by George Lakoff and Mark Johnson. The document then explores the backgrounds of the two chief contributors to the work, William Blake and Martin Bresnick. Next, the document evaluates Martin Bresnick’s music, tracing antecedents and influences, finally exploring how the music relates with textual and visual elements.