There is a new creative musical energy in the "classical" music scene in New York City, particularly since the beginning of the twentieth-first century. Centered around a disparate group of composers and musicians (mostly) under the age of forty and most visibly documented through New Amsterdam Records, these artists are eschewing easy musical classifications in their quest to create music that organically fuses elements of many different styles into something completely personal, different, and new. While terms such as alt-classical, post-classical, or indie classical are used to describe some of this music, I coined a new term, mixed music, to broadly define any music that transcends the rigid definitions of a singular genre. The thesis discusses some of the historical and sociological aspects of mixed music in addition to demonstrating its principles through an analysis of an original large-scale composition inspired by African-American popular music, Miscēre.