This composition is a concerto in two movements and has a total duration of approximately twenty-two minutes. The First Movement is prefaced by an Introduction, while the Second Movement is concluded with an Epilogue. The bass trombone functions in speeding up the tempo when it is featured in solo capacity. The horn, however, functions in slowing down the tempo when featured as a solo instrument. The speeding up and slowing down processes follow the principles of metric modulation.

The purpose of writing the Overture for Orchestra is two-fold: first, to produce a short orchestral work in the modern idiom; second, to compose a symphonic piece within the technical scope of semi-professional orchestras such as college and civic organizations.

A composition in three movements for piano, the duration of which is approximately seven minutes and thirty seconds. The tonal organization employs quickly changing tonal centers. Linear aspects are of more structural importance than vertical sonorities. Frequent changes of meter, syncopation, and ostinato figurations are utilized in each movement. Primarily, a two-voiced texture is employed to effect a transparent quality of sound. A detailed thematic and formal analysis of each movement is included in the "Discussion and Analysis".

In surveying the field of instrumental literature during the past one hundred fifty years it is notable that the majority of the larger orchestral works have been written ni the sonata form. This fact is the primary reason for the writers selection of the sonata form, which is employed in the Symphonic Piece in D Major.

"Symphonic Overture" is constructed like a symphony in miniature with the traditional sonata-allegro form used as a vehicle to expose the three contrasting actions, and to combine them into one concise movement.

"Gethsemane to Calvary" is a sacred cantata for mixed voices and keyboard accompaniment. It is divided into six sections which are called parts. With the exception of part one which is a potpourri overture, the parts are divided into a variety of choral forms.

Blessed are the Meek is an original composition by John Loring Emery for cello choir and features a narrative story.

This thesis is a musical setting of the Ordinary of the Roman Catholic Mass: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. It is scored for a soprano soloist, a four-part chorus (SATB), percussion requiring one player (orchestral bells, vibraphone, and chimes), piano, and pipe organ. The text is taken from the traditional Latin and its English translation, the Greek (in the case of "Kyrie eleison") and verse taken from scripture--John 1:1, John 1:5, and Revelation 1:17-18--as translated in the Revised Standard Version Bible. These verses are woven into the musical fabric of the Kyrie and the Gloria and are frequently overlayed with the text of the Mass itself. The text is treated freely with some cyclic treatment of textual and thematic material.

Alto Requiem is a requiem mass for contralto, chorus, and organ. Several unifying elements have been used throughout the composition. Most of the homophonic texture is limited to quartal and secundal structures. The melodic material is also predominantly quartal and secundal. Key relationships between and within movements are limited to related major and minor modes, modes a major or minor second apart, and modes a fourth apart. Further unity is achieved by emplying motives from the chants of the Roman Missa pro defunctis. These chants are used in the vocal lines as well as in the organ accompaniment.

"Music for Orchestra and Electronic Tape" is an attempt to combine the instruments of the symphony orchestra with electronic sounds which were pre-recorded on tape. The composition is divided into three sections, comprising a large ABA' form with an introduction and a coda. An electronic event occurs between each section.