An associate of the Canadian Music Centre, his compositional output consists largely of choral works, many written for Anglican liturgical use.
Successful completion of RCCO/RCO diplomas and external degrees had demanded he attain very considerable expertise in counterpoint, and so his neoclassic deployment of contrapuntal devices such as imitation, canon and fugue is hardly accidental.
The examinations for external Bachelor of Music (1936) and Doctor of Music (1939) degrees he earned from University of Toronto were very similar in scope and difficulty with the theoretical parts of the RCO/RCCO examinations; the degrees additionally required the successful submission of composition exercises.
[1] George worked as a church organist-choirmaster and private music teacher in Montreal (1932–1937) and Sherbrooke, Quebec (1937 to 1941).
The Royal Canadian College of Organists elected him its president(1972–1974); from 1969 to 1980 he was secretary-general of the International Folk Music Council.