In accordance with the requirements for completion of the degree Doctor of Musical Arts, this document consists of three parts: An original composition, approximately forty-five minutes in length, for Pierrot Ensemble (flute, clarinet, violin, violoncello, piano, and percussion); an analysis of the compositional processes utilized in the composition; and analyses of works from the literature that are similarly constructed, as well as supporting discussion on the analyses of those works by prominent music theorists. The selected pieces from the repertoire are Sorocaba and Botafogo, from Saudades do Brasil, by Darius Milhaud, and the 20 Mazurkas, Op.50, no.1, by Karol Szymanowski. Each of these pieces utilizes a compositional technique that involves the use of multiple, simultaneous pitch-class collections. By drawing upon the observations of music theorists who have discussed this technique, this document proposes a rational model for approaching an analysis and composition of such a work. The first chapter of this document is an introduction to I Feel As Though I Have Always Been Cold that includes a brief analytical overview of its three movements. The second chapter analyzes the works by Milhaud and Szymanowski. The third chapter applies the principles of the previously mentioned model to a detailed analysis of the composition for Pierrot Ensemble. It describes the various ways in which prolonged common tones, subcenter collections, and controlling collections are generated and used in the work. It also explores the effects of the collections and subcenters on musical aspects, such as harmonic modulation and textural dissonance. Following this analysis, in the fourth chapter, is a discussion of the esthetic, narrative, and extramusical aspects of I Feel As Though I Have Always Been Cold. The composition is presented in full score as an appendix.