"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 quartet shows the composer's development from a highly chromatic, freely melodic, un-serialized style in movement I, through a still free, but disjunct, somewhat more ordered style in movement II, to a style in movement III which makes much use of serial techniques. This last usage, however, no longer employs the twelve-tone method in a stiff and fettered manner.

Breakdown is a 17 minute, single movement work for orchestra in five sections. It is scored for 2 flutes, 2 oboes, 2 Bb clarinets, 2 bassoons, 3 Bb trumpets, 4 horns in F, 3 trombones, tuba, percussion, piano, and strings. The percussion consists of a tam-tam, 5 break drums, 4 timbales, 2 gourds, chimes, marimba, vibraphone, snare drum, 2 field drums, bass drum and tympani. The inspiration for this work is the poetry of Bruce Weigl which deals with many facets of the Vietnam experience. One particular work from his collection Song of Napalm, the poem "Breakdown", provided the basis for the emotional and structural content of the music. There are two primary sources of pitch material in the music of Breakdown, both of which have links to the Vietnam War. The name of a soldier who was killed in Vietnam, Miles Cooper, was used to generate a basic pitch set and a series of variation sets that provide much of the harmonic and melodic material in Breakdown. There derived sets are supported by the use of phrases and motives from the hymn Jewels, which celebrates the love of God for his children, and providesan indirect link to the subject of the piece, the war in Vietnam.

For his graduation project from the jazz department at KMH, Icelandic trumpeter and composer, Tumi Torfason, put on a big band concert with an original program of music and an alternative instrumentation. In this thesis he describes his research and creative process leading up to the concert with insights into his inspirations, compositional methods and approach to arranging. He explores the relationship between compositions and the instruments they are composed with and composed for. In addition, the thesis explores how those findings can then be applied to both the composing and arranging of this new program of music. He also goes into how the artistic side relates to the logistics behind the concert and finally discusses his findings and arrives at some interesting conclusions.