List of quarter tone pieces

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A selection of compositions using quarter tones:

Selected Ambient Works Volume II (1994); the track "02 [radiator]" features a quarter tone tuning in the basso ostinato.[citation needed]
Concert Variations for solo euphonium; the euphoniumist frequently creates quarter tones by using alternate "out of tune" valve combinations and subtle embouchure adjustments.[citation needed]
Çoǧluotobüsişletmesi for piano, 2 or more hands. The notes, B, D, E, and F-sharp on the keyboard are lowered in tuning by a quarter tone in all octaves.[citation needed]
Concerto for Quarter Tone Piano and Quarter Tone Strings (1930)[1]
String Quartet No. 6; the third movement Burletta contains quarter-tone tuning used for parodistic effect.[2] Quarter tones are also used in Bartók's ballet The Miraculous Mandarin.[citation needed]
Sonata for Solo Violin; the fourth movement Presto contains quarter-tones, but they are not "structural features."[3][4][page needed] This movement also calls for third-tones.
Violin Concerto no. 2; the cadenza in the final movement requires the use of quarter-tones, but only as an effect.[5][4][page needed]
Chamber Concerto, for violin, piano, and 13 winds.[6]
E vó (1972).[4][page needed]
Piano Quintet No. 1 (1923); the first movement features use of quarter-tones in the string parts.[7][4][page needed]
Le visage nuptial (1946).[4][page needed]
Capricho for piano in quarter-tones (1959)[8]
Capricho for solo viola in quarter-tones (1926)[8]
Casi-sonatas 1-6 for solo violin, viola or cello in quarter-tones (c.1960s)[8]
Concertino in quarter-, eighth- and sixteenth-tones for violin, cello and harp with orchestra (1926)[8]
Concerto for 1/4-tone and 1/8-tone cello and orchestra (1958)[8]
Concerto No. 1 for quarter-tone violin and orchestra (1963)[8]
Concerto No. 2 for quarter-tone violin and orchestra (1964)[8]
Mass for Pope John XXIII for male chorus in quarter-tones (1920s)[8]
Preludio a Cristobol Colón for vocalizing soprano, octavina, flute, harp, violin, and guitar (1922)[8]
Serenata for cello in quarter-tones with English horn, harp, and string quartet (1927)[8]
70 estudios for solo violin in quarter-tones (c. 1927?) {also for solo viola, cello, or double-bass}[8]
Sonata for solo guitar in quarter-tones (c.1924)[8]
Sonata (Amanecer en Berlin 13) for solo harp in quarter-tones (1931)[8]
Sonata casi fantasia for violin, violoncello and guitar in quarter-, eighth- and sixteenth-tones (1925)[8]
String Quartet in quarter-tones (c.1924) {There are also 7 others with some using smaller intervals.}[8]
Suite for solo guitar in quarter-tones (1960)[8]
3 estudios en forma de sonatina for solo violin in quarter-tones (1927)[8]
Symphony No. 1 (Colombia) for orchestra in quarter-tones (c.1924)[8]
Symphony No. 2 (Colombia) for orchestra in quarter-tones (1926)[8]
Vitebsk (1928).[4][page needed]
Chiaroscuro for two pianos tuned a quarter tone apart (1997)[4][page needed]
Piece for Two Quarter-Tone Pianos[9]
Xanadu for two pianos tuned a quarter tone apart (ca. 1930)[4][page needed]
Dirge for two pianos tuned a quarter tone apart,[10] published in New Music quarterly (January 1937)[11]
Dirge for violin and piano (1937)[citation needed]
Rumba for two pianos tuned a quarter tone apart (ca. 1937)[citation needed]
Reminiscences, 1971 for two pianos, one tuned a quarter-tone lower.[12]
Sonority Movement, for flute and nine harps.[13]
Soundtrack score for A Simple Plan features quarter-tones[citation needed]
Galaxe [Galaxy] (For 3 Quarter-Tone Guitars), Opus 46.[14]
Lux Subtilissima (2006), "Consort Musicke" for string quartet (1/4 and 1/6 tones are used)[citation needed]
En la soledat i el silenci (2007), for hyper-tempered koto and guitar[citation needed]
Soundtrack score for Alien features quarter-tones[citation needed]
Quaternion for cello quartet, two of the cellos are tuned down a quarter tone[citation needed]
Music for Flute, Strings, and Percussion, the strings are divided into two sections, one of which is tuned a quarter-tone lower than the other.[15]
Garten von Freuden und Traurigkeiten for flute, harp, and viola includes a quarter-sharp and three-quarter-sharp at one point in the piece.[citation needed]
In Erwartung for quartet of saxophones and six percussionists includes quarter-tone and three-quarter tone accidentals in saxophone parts.[citation needed]
Hommage à T. S. Eliot, microintervals are used in the parts of bassoon and clarinet[citation needed]
Velinikka, concerto for quarter-tone accordion (2008)[citation needed]
Hommage à Steve Reich, for piano player on two pianos tuned a quarter tone apart (1983)[citation needed]
Hommage à György Ligeti, for piano player on two pianos tuned a quarter tone apart (1985)[citation needed]
Suite for string orchestra (1917)[8][16]
Fantasy for violin solo in Quarter-tone System[8]
Fantasy for violin & quarter-tone piano, Op. 21[8]
Matka (The Mother), opera in quarter-tones for soloists, chorus, and orchestra (1930)[8]
Sonata for quarter-tone piano, Op 62[8]
String Quartet No. 2 ("In quarter-tone system"), Op.12[8]
String Quartet No. 12 ("In quarter-tone system"), Op. 90[8]
Suite No. 1 (Hába) for quarter-tone clarinet & quarter-tone piano, Op. 24[8]
Suite No. 6 (Hába) for quarter-tone piano, Op. 88[8]
Suite for 4 trombones in quarter-tone system, Op. 72[8]
Suite for violin solo in quarter-tone system, Op. 93[8]
Prométhée enchaîné (1849)[17]
String Quarter No. 5 (1962).[4][page needed]
O Lord, Bless Thy Mountains, Op. 276, for two pianos tuned a quarter tone apart (1974)[18][4][page needed]
Quarter-Tone Pieces (3), for two pianos, one tuned a quarter-tone sharp, S. 128 (K. 3C3) (1923-1924)[19][20]
Hyperchromatic Counterpoint for quarter-tone accordion and 5.0 surround tape (2006-2009)[citation needed]
"Divination By Mirrors for Saw and Strings" (1998).[21][not in citation given] Two string groups tuned a quarter-step apart with a musical saw soloist playing in both pitch universes.[citation needed]
Clocks and Clouds for 12-voiced women's choir and orchestra.[22]
Quartet No. 2 for strings.[23]
Ramifications for 12 solo strings (1968-69), divided into two groups tuned a quarter-tone apart.[24][25][26][27][28][29]
Sonata for Solo Viola, includes 1/4, 1/6, and 1/8 tones.[30]
Soundtrack score for Wait Until Dark (1967) features extensive use of quarter-tones including two pianos tuned a quarter-tone apart[31]
The Night Visitor[32]
Deux monodies en quarts de ton (1938).[4][page needed]
Circles Mostly in Wood, a quarter-tone wind quintet in five movements (2002)[citation needed]
Fair and Balanced, a quarter-tone saxophone quartet in four short movements (2004)[citation needed]
Emanations (Emanacje, 1959) for two string orchestras tuned a semitone apart[citation needed]
Threnody to the Victims of Hiroshima, for string orchestra, frequently makes use of quarter tones.[33]
Symphony No. 1 (1973), heavily quarter-tone, including clusters.[citation needed]
Soundtrack score for Sybil (1976) features quarter-tones[citation needed]
Piano Quintet[citation needed]
Zwei Konzertstücke, Op. 26, 1906[16]
Pietà, for soprano, quarter-tone flugelhorn, and electronic music, from the opera Dienstag aus Licht[34]
Schlagquartett, for piano and 3 x 2 timpani (1952)[35]
Prélude[citation needed]
Suite, Op. 56, No. 1 Mode Bayati: mijana-errêdde-hida-ala'mayyem-oumi thaddare ya Zêna-'al yadi[citation needed]
Suite, Op. 56, No. 2 Mode Huzam: marmar zamani-al'of mach'al-ya hnayyina-a'rrozana-ya laylu'ssabi-meshta'erja'adday'a[citation needed]
Suite, Op. 59, No. 1 Mode Iraqi: takassim-remmanâ ya habibi-Idi widak'al wadi-ah ya asmar el lawn-bouzzoulof-ya ghzayel[citation needed]
Remmanâk yâ habîbi[citation needed]
Jamlo[citation needed]
Sâfar Zamâni[citation needed]
Idi w'iadk 'al wadi[citation needed]
Ala 'mayyam[citation needed]
Yal laylous'sabi[citation needed]
Bellazi askar[citation needed]
Suite populaire libanaise en ré rast, Op. 17, for string quartet[citation needed]
Fantaisie orientale en ☺ré saba, Op. 52. for cello[citation needed]
Suite en la bayali, Op. 80, for solo violin[citation needed]
Quatre morceaux, for voice and piano, Op. 44[citation needed]
Bryce (1976).[4][page needed]
The Angelus (words by Dennis Corbett) for baritone & quartertone piano or keyboard[citation needed]
Hot Cross Buns for quarter-tone pianos[citation needed]
Little Pieces for quarter-tone pianos[citation needed]
Quartertone Carol for high voice with alto, tenor, and bass recorders[citation needed]
Quartertone Lullabies 1 and 2 for alto, tenor, and bass recorder[citation needed]
Quartertone Lullaby 3 (Midnight Microtone) for alto recorder, flute, and clarinet[citation needed]
Quartertone Recorder Duets[36][volume & issue needed]
Romanza for solo recorder.[37][38]
Sarabande: Dance for Miriam Cooper, for microtonal harpsichord (1986)[39]
Sonata No. 1 for Solo Recorder ("The Bullfinch").[40][38]
Vigils 1 and 2 for quarter-tone organ[citation needed]
Quatre fragments, for 2 pianos in quarter tones (2nd version), Op. 5 (1918)[citation needed]
Chant douloureux et étude, for violin & piano, Op. 6 (1918)[citation needed]
Méditation sur deux thèmes de la Journée de l'existence, for cello & piano, Op. 7 (1918-1919)[citation needed]
L'Évangile Rouge, cycle for voice & 2 pianos in quarter tones (2nd version), Op. 8 (1918-1920)[citation needed]
Chants sur Nietzsche (2), for baritone & 2 pianos in quarter tones, Op. 9 (1923)[citation needed]
Variations sur la note Do, for 2 pianos in quarter tones, Op. 10 (1918-1920)[citation needed]
String Quarter No. 1 (1924)[4][page needed]
Chant nocturne, for violin & 2 pianos in quarter tones, Op. 11 (1927)[citation needed]
Dithyrambe, for 2 pianos in quarter tones, Op. 12 (1923-1924, revised vers. by Bruce Mather, 1991)[citation needed]
String Quartet No. 1, Op. 13 (1923-1924)[citation needed]
Chœurs (2, words by A. Pomorsky), for mixed choir, 4 pianos in quarter tones & percussions, Op. 14 (1926)[citation needed]
Prélude et fugue sur un chant de l'Évangile rouge, for quartertone piano, version for string quartet (lost), Op. 15 (1927)[citation needed]
Prélude et danse, for 2 pianos in quarter tones, Op. 16 (1926)[citation needed]
Ainsi parlait Zarathoustra, symphonie, for 4 pianos in quarter tones (sketches for orchestration in Bibliothèque Nationale, Paris), Op. 17 (1929-1930, revised 1936, Ed. L'Oiseau-Lyre)[4][page needed]
String Quartet No 2, Op. 18 (1930-1931)[citation needed]
Études de concert(2), for 2 pianos in quarter tones, Op. 19 (1931)[citation needed]
Étude en forme de scherzo, for 2 pianos in quarter tones, Op. 20 (1931)[citation needed]
String Quarter No. 2 (1931)[4][page needed]
Prélude et fugue, for 2 pianos in quarter tones, Op. 21 (1932)[citation needed]
Pièces (2), for 2 pianos in quarter tones, without Op. (1934)[citation needed]
Premier fragment symphonique, for 4 pianos in quarter tones, Op. 23a; for orchestra, Op. 23c (1934, orch. vers. 1967)[citation needed]
Deuxième fragment symphonique, for 4 pianos in quarter tones, timpani & percussions, Op. 24 (1937)[citation needed]
Poème, for 2 pianos in quarter tones, without Op. (1937)[citation needed]
Linnite, pantomime in 1 act & 5 scenes, for 3 voices & 4 pianos in quarter tones, Op. 25 (1937)[citation needed]
Préludes dans tous les tons de l'échelle chromatique diatonisée à 13 sons (24), for 2 pianos in quarter tones, Op. 22 (1934, rev. 1960)[citation needed]
À Richard Wagner, for baritone & 2 pianos in quarter tones, Op. 26 (1934)[citation needed]
Acte chorégraphique, for bass-baritone, mixed choir, 4 pianos in quarter tones, percussions & ad. lib. instruments (viola, clarinet in C & balalaika), Op. 27 (1937-1940)[citation needed]
Cosmos, for 4 pianos in quarter tones, Op. 28 (1939-1940)[4][page needed]
Chants russes (2), for bass-baritone & 2 pianos in quarter tones, Op. 29 (1940-1941)[citation needed]
Troisième fragment symphonique, for 4 pianos in quarter tones & ad. lib. percussions, Op. 31 (1946)[citation needed]
Fugues (2), for 2 pianos in quarter tones, Op. 32 (1951)[citation needed]
Variations sans thème et conclusion (5), for orchestra, Op. 33 (1951-1952)[41]
Sonate en un mouvement, for viola & 2 pianos in quarter tones, Op. 34 (1945-1959)[citation needed]
Transparence I, for Onde Martenot & 2 pianos in quarter tones, Op. 35 (1953)[4][page needed]
Quatrième fragment symphonique, for 4 Ondes Martenot & 4 pianos in quarter tones, Op. 38c (1956)[citation needed]
Polyphonies spatiales, for piano, harmonium, Ondes Martenot, percussion & string orchestra, Op. 39 (1956)[citation needed]
Études sur les densités et les volumes, for 2 pianos in quarter tones, Op. 39b (1956)[citation needed]
Dialogue à deux, for 2 pianos in quarter tones, Op. 41 (1958-1973)[citation needed]
Dialogue, for 2 pianos in quarter tones, 8 hands, without Op. (1959)[citation needed]
Composition en quarts de ton for string quartet Op. 43 (1960)[citation needed]
Études sur les mouvements rotatoires, for 2 pianos in quarter tones, 8 hands, Op. 45a; for chamber orchestra, Op. 45c (1961)[citation needed]
Composition II, for 2 pianos in quarter tones, Op. 46b (1960)[citation needed]
Transparence II, for Onde Martenot & 2 pianos in quarter tones, Op. 47 (1962-1963)[citation needed]
Intégrations, for 2 pianos in quarter tones, Op. 49 (1962)[citation needed]
L'Éternel Étranger, opera, for voices, mixed choir, 4 pianos in quarter tones, percussions and orchestra (unfinished orchestration), Op. 50 (1940-1960)[citation needed]
Symphonie en un mouvement, for orchestra, Op. 51b (1969)[citation needed]
Composition, for Ondes Martenot quartet, Op. 52 (no date)[citation needed]
String Trio, Op. 53 (1979, unfinished, completed by Claude Ballif)[citation needed]
Trauergesang, Epigrammen, Ein Stück, for quartertone piano, without Op. (undated, found by M. Smolka in Alois Hába's archives in 1992)[citation needed]
Six Sonatas for Solo Violin, Op. 27 (1924), Nos 3 & 5[42]
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[edit] References

  1. ^ Gagné 2012, p. 26.
  2. ^ Read 1990, p. 51.
  3. ^ Riley 1996, p. 275.
  4. ^ a b c d e f g h i j k l m n o p q Gagné 2012.
  5. ^ Read 1990, p. 52.
  6. ^ Read 1964, pp. 143–44.
  7. ^ Read 1990, p. 58.
  8. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad Read 1990, p. 2.
  9. ^ Latham 2008, p. 11.
  10. ^ Hinson 2001, p. 42.
  11. ^ Couper 1937.
  12. ^ Hinson 2001, pp. 52–53.
  13. ^ "The nine harps are divided into three groups of three and tuned in sixth-tones, and the flute plays in quarter-steps". Keislar 1991, p. 185.
  14. ^ Anon. 2011.
  15. ^ Kurtz, Brown, and Lohmann 2007, p. 232.
  16. ^ a b Benson 2007, p. 228.
  17. ^ Macdonald 2001.
  18. ^ Rosner and Wolverton 2001.
  19. ^ Pappastavrou 1974.
  20. ^ Sherwood 2002, pp. 123–26.
  21. ^ Twentieth century music, Volume 5, Issues 1-6. 20th Century Music. 1998. p. 29. 
  22. ^ Steinitz 2003, p. 201. However, Duchesneau 2011, p. 135 states that Ramifications is Ligeti's "only work in quarter tones".
  23. ^ Steinitz 2003, p. 183. However, Duchesneau 2011, p. 135 states that Ramifications is Ligeti's "only work in quarter tones".
  24. ^ Clendinning 1993, p. 219
  25. ^ Duchesneau 2011, p. 135.
  26. ^ Griffiths 2001.
  27. ^ Roig-Francolí 1995, p. 244
  28. ^ Steinitz 2003, pp. 179–80.
  29. ^ Toop 1999, pp. 134–35.
  30. ^ Duchesneau 2011, p. 135 states that Ramifications is Ligeti's "only work in quarter tones".
  31. ^ Benedetti, Michael, and Bernie 2004, p. 134.
  32. ^ Brown 1994, pp. 177–78.
  33. ^ He et al. 2006,[page needed]
  34. ^ Brotbeck 2004, pp. 56–57.
  35. ^ "Konträr-Klangräume: 6 Pauken, deren Stimmung ganztönig, und zur Klavierstimmung vierteltönig verschoben". Stockhausen 1964, p. 15.
  36. ^ (1977). High Fidelity, Volume 27, Issues 1-6, p.80. ABC Leisure Magazines. "Tui St. George Tucker considers quarter tones the shape of things to come, but right now there is not much shape at all to her miniature Quarter Tone Recorder Duets."
  37. ^ "An arrow head pointing down over a note lowers it approximately a quarter step". Tucker 1970, 7.
  38. ^ a b "Both pieces require performing techniques not encountered in traditional music for recorder. The most striking is the production of quarter-tones, notated as pitches in the chromatic scale to be lowered slightly. Charts provided by the composer give fingering for all half- and quarter-tones from the low f' up to a precarious c''''". Hettrick 1971.
  39. ^ "'V' over a tone lowers it a quartertone … 'V' below a group of tones lowers that group a quartertone". Tucker 1986, 2–3.
  40. ^ "An arrow head pointing down over a note lowers it approximately a quarter step". Tucker 1970, 4.
  41. ^ Read 1990, p. 76.
  42. ^ Ysaÿe 1924, pp. 24, 26, 39, and 43.
  • Anon. 2011. "Elektrofoni: Works For Micro Intervallic Guitar 1965–1978: Bjørn Fongaard" (CD track listing). Allmusic.com (Accessed 15 November 2011).
  • Benedetti, Robert, Brown Michael, and Laramie Bernie. 2004. Creative Postproduction.[Full citation needed] ISBN 9780205375752.
  • Benson, David J. 2007. Music: A Mathematical Offering. ISBN 9780521853873.[Full citation needed]
  • Brotbeck, Roman. 2004. "Anmerkungen zur Pietà". In Internationales Stockhausen-Symposion 2000: LICHT. Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000. Tagungsbericht, edited by Imke Misch and Christoph von Blumröder, 51–60. Münster: Lit-Verlag. ISBN 3-8258-7944-5.
  • Brown, Royal S. 1994. Overtones and Undertones. ISBN 9780520083202.[Full citation needed]
  • Clendinning, Jane Piper. 1993. "The Pattern-Meccanico Compositions of György Ligeti". Perspectives of New Music 31, no. 1 (Winter): 192–234.
  • Couper, Mildred. 1937. Dirge, for 2 Pianos, Second Piano Tuned One Quarter Tone Higher Than the First. New Music 10, no. 2 (January): 4–12.
  • Duchesneau, Louise. 2011. "'Play It Like Bill Evans': György Ligeti and Recorded Music". In György Ligeti: Of Foreign Lands and Strange Sounds, edited by Louise Duchesneau and Wolfgang Marx, 125–48. Woodbridge: Boydell Press. ISBN 978-1843835509.
  • Gagné, Nicole V. 2012. Historical Dictionary of Modern and Contemporary Classical Music. Historical Dictionaries of Literature and the Arts. Lanham, MD: Scarecrow Press. ISBN 9780810867659 (cloth); ISBN 9780810879621 (ebook).
  • Griffiths, Paul. 2001. "Ligeti, György (Sándor)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • He, Sineng [Edward Ho], Ming-chi Chan, Kenneth Kwan, Chi Cheung Leung, Jane Cheung, Stefan Siu Ming Au, Eton Kung, Patrick Chan, Richard Tsang, John Chen, Daniel P. Law, Joanna C. Lee, Victor Chan, Jenny Yip, Ting-cheong So, Kenneth Kwan, Hing-yan Chan, Kim-ho Ip, Richard Tsang, Joanna C. Lee, Ken Smith, Kenneth Kwan, Clarence Mak, Eton Kung, Poly Ng, Joshua Chan, and Kwong Chi. 2006. Understanding Contemporary Music: A Teaching Manual for Secondary and Primary School Teachers, 15 vols., 2 CDs, and 1 DVD. Hong Kong: Chinese University Press]. ISBN 978-962-996-214-2. Chinese edition, as 現代音樂探索－中小學適用教材匯編 [Xian dai yin yue tan suo: zhong xiao xue shi yong jiao cai hui bian = Exploring Contemporary Music—Compilation of Primary and Secondary Application Materials]. Hong Kong: 中文大學出版社 [Chinese University Press], 2006. ISBN 978-962-996-215-9.
  • Hettrick, William E. 1971. "Tui St. George Tucker: Sonata and Romanza, for Solo Recorder. (Recorder Consort Editions, 14.) Brooklyn: Anfor Music Publishing Co., 1970". Notes second series 28, no. 2 (December) 312.
  • Hinson, Maurice. 2001. Music for More Than One Piano. ISBN 9780253214577.[Full citation needed]
  • Keislar, Douglas. 1991. "Six American Composers on Nonstandard Tunings". Perspectives of New Music 29, no. 1 (Winter): 176–211.
  • Kurtz, Michael, Malcolm Hamrick Brown, and Christoph K. Lohmann. 2007. Sofia Gubaidulina. ISBN 9780253349071.[Full citation needed]
  • Latham, Cara. 2008. "Mr. Tambourine Man: Seven Songs to Texts by Bob Dylan: A Song Cycle by John Corigliano. ISBN 9780549775546.[Full citation needed]
  • Macdonald, Hugh. 2001. "Halévy, (Jacques-François-)Fromental(-Elie) [Fromentin(-Elias)]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Pappastavrou, George. 1974. "Ives's Quarter-Tone Pieces". Clavier 13, no. 7:31–32
  • Read, Gardner. 1964. Music Notation: A Manual of Modern Practice. Boston: Alleyn and Bacon, Inc.
  • Read, Gardner. 1990. 20th-Century Microtonal Notation. New York: Greenwood Press.
  • Riley, Charles A. 1996. Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music and Psychology. [Full citation needed]: UPNE. ISBN 9780874517422.
  • Roig-Francolí, Miguel A. 1995. "Harmonic and Formal Processes in Ligeti's Net-Structure Compositions". Music Theory Spectrum 17, no. 2 (Autumn,): 242–67.
  • Rosner, Arnold, and Vance Wolverton. 2001. "Hovhaness [Hovaness], Alan [Chakmakjian, Alan Hovhaness]". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Sherwood, Gayle. 2002. Charles Ives. London and New York: Routledge.
  • Steinitz, Richard. 2003. György Ligeti: Music of the Imagination. London: Faber and Faber. ISBN 0571176313; Boston: Northeastern University Press. ISBN 1555535518.
  • Stockhausen, Karlheinz. 1964. Texte zur Musik 2, edited and with an afterword by Dieter Schnebel. DuMont Dokumente, Werk Nr. 305. Cologne: Verlag M. DuMont Schauberg.
  • Toop, Richard. 1999. György Ligeti. London: Phaidon Press. ISBN 0714837954.
  • Tucker, Tui St. George. 1970. Sonata for Solo Recorder ("The Bullfinch") and Romanza for Solo Recorder. Recorder Consort Editions 14. Brooklyn: Anfor Music Publishing.
  • Tucker, Tui St. George. 1986. Sarabande: Dance for Miriam Cooper, for microtonal harpsichord (score). Tui St. George Tucker website (Accessed 18 November 2011).
  • Ysaÿe, Eugène. 1924. Six Sonatas pour violin seul, Op. 27. New York: G. Schirmer, Inc.
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