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Sonata for Solo Violin; the fourth movement Presto contains quarter-tones, but they are not "structural features."[9] This movement also calls for third-tones.
Violin Concerto No. 2; the cadenza in the first movement requires the use of quarter-tones, but only as an effect.[10]
Divination by Mirrors for Saw and Strings. Strings are divided into two groups of 13 tuned 1/4 step apart. Each group plays only in its own pitch "universe". The featured bowed saw freely moves from standard tuning to pitches a 1/4 step away. Premiered at Merkin Concert Hall, New York City, 1998 by the New York Virtuosi and Dale Stuckenbruck saw soloist.[41]
Suite for four trombones, Op. 8 (1938, scheduled for performance during the 1939 ISCM Festival in Warsaw but the performance could not take place)[citation needed]
^Oteri 2004, n. 12, "At some point, he outfitted his entire trumpet section with four-valved trumpets whose additional valve allowed them to play quarter-tones"
^Stockhausen 1964, p. 15, "Konträr-Klangräume: 6 Pauken, deren Stimmung ganztönig, und zur Klavierstimmung vierteltönig verschoben [Contrasting sound spaces: 6 timpani, the whole tone of which is tuned and quarter-tone shifted to the piano tuning]".
^Tucker 1970, p. 7, "An arrow head pointing down over a note lowers it approximately a quarter step". Hettrick 1971, "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''''."
^Tucker 1986, pp. 2–3, "'V' over a tone lowers it a quartertone … 'V' below a group of tones lowers that group a quartertone".
^Hettrick 1971. Tucker 1970, p. 4, "An arrow head pointing down over a note lowers it approximately a quarter step".
Benedetti, Robert, Michael Brown, Bernie Laramie, and Patrick Williams. 2004. Creative Postproduction. Boston: Pearson Education. ISBN 978-0-205-37575-2.
Benson, David J. 2007. Music: A Mathematical Offering. Cambridge and New York: Cambridge University Press, ISBN 978-0-521-85387-3.
Bentoiu, Pascal. 2010. Masterworks of George Enescu: A Detailed Analysis, translated by Lory Wallfisch. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-7665-1 (cloth) ISBN 978-0-8108-7690-3 (ebook).
Boulez, Pierre. 1986. "The System Exposed". In Orientations: Collected Writings by Pierre Boulez, edited by Jean-Jacques Nattiez, translated by Martin Cooper, 129–142. Cambridge: Harvard University Press. ISBN 978-0-674-64375-8.
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 978-3-8258-7944-0.
Brown, Royal S. 1994. Overtones and Undertones: Reading Film Music. Berkeley and London: University of California Press. ISBN 978-0-520-08320-2.
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, 125–148. Woodbridge: Boydell Press. ISBN 978-1-84383-550-9.
Gagné, Nicole V. 2012. Historical Dictionary of Modern and Contemporary Classical Music. Historical Dictionaries of Literature and the Arts. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-6765-9 (cloth); ISBN 978-0-8108-7962-1 (ebook).
Hansen, Richard K. 2005. The American Wind Band: A Cultural History. [S.l.]: GIA Publications ISBN 978-1-57999-467-9.
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. December 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(2):312.
Hinson, Maurice. 1983. Music for More Than One Piano: An Annotated Guide. Bloomington: Indiana University Press. ISBN 978-0-253-33952-2 (cloth); ISBN 978-0-253-21457-7 (pbk).
Keislar, Douglas. 1991. "Six American Composers on Nonstandard Tunings". Perspectives of New Music 29, no. 1 (Winter):176–211.
Kurtz, Michael. 2007. Sofia Gubaidulina, first English edition, revised and expanded, translated by Christoph K. Lohmann, edited by Malcolm Hamrick Brown, foreword by Mstislav Rostropovich. Russian Music Studies. Bloomington: Indiana University Press. ISBN 978-0-253-34907-1.
Latham, Cara. 2008. "Mr. Tambourine Man: Seven Songs to Texts by Bob Dylan: A Song Cycle by John Corigliano". DMA diss. Philadelphia: Temple University.
Read, Gardner. 1964. Music Notation: A Manual of Modern Practice. Boston: Alleyn and Bacon.
Read, Gardner. 1990. 20th-Century Microtonal Notation. New York: Greenwood Press.
Richards, Edwin Michael. 1992. The Clarinet of the Twenty-First Century. [Fairport, New York]: E + K Publishers.
Riley, Charles A. 1996. Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music and Psychology. UPNE. ISBN 978-0-87451-742-2.
Saffle, Michael. 2000. Perspectives on American Music, 1900–1950. ISBN 978-0-8153-2145-3.
Saito, Mitsuru. 2008. A Critique of Etudes and Method Books for Advanced Euphoniumists: Status Quo and Future Recommendations. NOOK Study eTextbook. [N.p.]: ProQuest. ISBN 978-0-549-78383-1 (eBook).
Sherwood, Gayle. 2002. Charles Ives. London and New York: Routledge.
Skinner, Myles Leigh. 2007. "Toward a Quarter-Tone Syntax: Analyses of Selected Works by Blackwood, Haba, Ives, and Wyschnegradsky". Ph.D. diss. Buffalo: State University of New York.
Somfai, László. 1996. Béla Bartók. Berkeley and Los Angeles: University of California Press. ISBN 978-0-520-08485-8.
Steinitz, Richard. 2003. György Ligeti: Music of the Imagination. London: Faber and Faber. ISBN 978-0-571-17631-1; Boston: Northeastern University Press. ISBN 978-1-55553-551-3.
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 978-0-7148-3795-6.
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.
