The author aims to make the case why the horn solo and chamber works by Thomas E. Weaver prove valuable and deserve recognition within the horn canon and the music world at large. This dissertation is supported in three chapters. The beginning chapter consists of a biographical view of Weaver as a composer, pianist, and educator, in which the sum of his musical experience thus far enables him to compose compelling music. The middle chapter is treated similarly to an observation phase of a scientific experiment. The author takes each of his works for horn under the microscope, and highlights the unique attributes, thus providing a horn player and or curious musician handholds to understand and give convincing interpretations of the music. The material presented in this chapter could subsequently be adapted for program notes or liner notes for a recording. The result of the author’s findings within this second chapter is reported on during the third and final chapter. The author compares the works discussed and offers overarching concepts which aid in defining Weaver’s compositional approach. This analysis ties together similarities in these theoretical aspects and how these similarities lead to powerful aesthetic statements. The author also offers conclusions on how Weaver writes for the horn and possible analogues to his music found in the existing canon. Being that this is the first published scholarship on Weaver’s music, this document is a starting point for further inquiry, investigation, and scholarship into more of his compositional output including the works that will be discussed. By the conclusion of this document, a performer will be more inclined to interact with Weaver’s music.