This essay examines music compositional practice in Once More with Feeling (OMWF). In the musical episode, composer Joss Whedon explores an array of compositional styles. The essay identifies musical characteristics that define the varied styles, framing these characteristics in musico-theoretical and musicological terminology. Additionally, inferences are drawn from Whedon’s compositional choices as supportive of subtexts within BtVS. For example, the stylistic choices made for specific musical works help define our perceptions of characters and relationships. Solo songs performed by Spike and Anya (both allied with the demon world) are rock tunes, Sweet’s solo is a slick jazz tune, and Xander and Anya’s love-nest duet is a "retro pastiche." Each style leads the viewer to conclusions based on associated sociological stereotypes.

Although labeled a musical, OMWF also displays characteristics reminiscent of traditional opera. While narrative relies heavily on spoken dialogue as in musical theater, the manner in which the musical compositions comment on the dialogue bears a greater resemblance to operatic practices. From a purely musical perspective, the composer’s use of counterpoint, orchestration, and tone painting exemplify a variety of important developments in Western music from the early 17^th century to the 1960’s. In addition to creating a wonderfully diverse musical presentation, these multiple references also highlight the discrepancy between Human and Vampire concepts of time, as well as the juxtaposition of these perceptions in the Buffyverse.