This dissertation provides theoretical analyses of the Composition for Piano Four Hands and Two Comments, and the Prelude for piano solo by Edson Zampronha. I also explore how analytical observations can aid in forming performance interpretations of such pieces in a disciplined and stylistically informed way. In order to show connections between the chosen pieces, each pieces motivic cells and their development and/or variations in pitch and rhythm were analyzed using a set theoretical approach. While the details of the compositional approach to each piece are unique, my analysis has revealed some broader stylistic features that are not immediately obvious on the surface of these pieces, but that serve to unify his compositional output from this time period.The document is divided into four chapters. Chapter one, the introduction, includes a introduction to the topic, then a short biography of the composer, reasons for my interest in the two pieces, literature review, a discussion of the nature of my research and why it is important, and an explanation of why set theoretical tools are appropriate for the analysis of the two pieces. Chapters two and three discuss the Composition for Piano Four Hands and Two Comments, and the Prelude for piano solo, respectively. Both chapters include an analysis of the piece and suggestions for performance interpretations. Finally, chapter four summarizes my analyses, draws connections between the pieces, and points to further research possibilities. The bibliography is followed by appendices, which include an interview with the composer and full scores of both pieces.