Composition
|
Instrumentation |
Year |
Composer
|
Prime limit
|
Comments |
Notes
|
Seventeen Lyrics by Li Po
|
Voice, Adapted Viola
|
1930–33
|
Harry Partch
|
11
|
Text by Li Po
|
[1]
|
Two Psalms
|
Voice, Adapted Viola, Chromelodeon I, Kithara I
|
1931–32, 1941, 1943
|
Harry Partch
|
11
|
Text from Psalm 23 and Psalm 137
|
[1]
|
The Potion Scene
|
Voice, 2 high female voices, Adapted Viola, Chromelodeon I, Kithara II, Bass Marimba, Marimba Eroica
|
1931, 1955
|
Harry Partch
|
11
|
Text by Shakespeare
|
[1]
|
The Wayward
|
Voices, Ensemble of Partch Instruments
|
1941–43, 1955, 1958, 1968
|
Harry Partch
|
11
|
Texts by or collected by Harry Partch
|
[1]
|
Dark Brother
|
Voice, Chromelodeon I, Adapted Viola, Kithara I, Bass Marimba
|
1942–43
|
Harry Partch
|
11
|
Text by Thomas Wolfe
|
[1]
|
Yankee Doodle Fantasy
|
Soprano, Tin Flutes, Tin Oboe, Flex-A-Tones, Chromelodeon I
|
1944
|
Harry Partch
|
11
|
Text largely collected by Oscar Sonneck
|
[1]
|
Two Settings from Joyce's Finnegan's Wake
|
Soprano, Kithara I, 2 flutes
|
1944
|
Harry Partch
|
11
|
Text by James Joyce
|
[1]
|
Two Studies on Ancient Greek Scales
|
Harmonic Canon II, Bass Marimba
|
1946
|
Harry Partch
|
11
|
Later incorporated into Eleven Intrusions
|
[1]
|
Eleven Intrusions
|
Ensemble of Partch instruments
|
1949–50
|
Harry Partch
|
11
|
Texts by Ella Young, Lao-Tse, Willard Motley, George Leite and Giuseppe Ungaretti
|
[1]
|
Plectra and Percussion Dances
|
Voices, Ensemble of Partch instruments
|
1949–52
|
Harry Partch
|
11
|
Texts by Harry Partch and Arthur Rimbaud
|
[1]
|
Oedipus – A Music-Dance-Drama
|
Voices, Ensemble of Partch instruments
|
1951, 1952–54, 1967
|
Harry Partch
|
11
|
Text by Harry Partch based on the play by Sophocles
|
[1]
|
Two Settings from Lewis Carroll
|
Voice, Ensemble of Partch instruments
|
1954
|
Harry Partch
|
11
|
Text by Lewis Carroll
|
[1]
|
Ulysses at the Edge
|
Voice, Ensemble of Partch instruments
|
1955
|
Harry Partch
|
11
|
Text by Harry Partch
|
[1]
|
The Bewitched – A Dance Satire
|
Soprano, Ensemble of Partch instruments
|
1955
|
Harry Partch
|
11
|
|
[1]
|
Windsong
|
Ensemble of Partch Instruments
|
1958
|
Harry Partch
|
11
|
|
[1]
|
Revelation in the Courthouse Park—After The Bacchae of Euripides
|
Voices, Partch instruments
|
1960
|
Harry Partch
|
11
|
Text by Harry Partch based on the play by Euripides
|
[1]
|
Rotate the Body in All Its Planes
|
Ensemble of Partch instruments
|
1961
|
Harry Partch
|
11
|
Text by Harry Partch
|
[1]
|
Bless this Home
|
Voice, oboe, Adapted Viola, Kithara I, Harmonic Canon II, Mazda Marimba
|
1961
|
Harry Partch
|
11
|
Text by Vincenzo Prockelo
|
[1]
|
And on the Seventh Day Petals Fell in Petaluma
|
Ensemble of Partch instruments
|
1963–66
|
Harry Partch
|
11
|
|
[1]
|
Sonata for Microtonal Piano
|
Retuned piano
|
1964
|
Ben Johnston
|
5
|
|
[2]
|
String Quartet No. 2
|
String quartet
|
1964
|
Ben Johnston
|
|
|
[2]
|
The Well-Tuned Piano
|
Retuned piano
|
1964–now
|
La Monte Young
|
7
|
|
[3]
|
Delusion of the Fury – A Ritual of Dream and Delusion
|
Ensemble of Partch instruments
|
1965
|
Harry Partch
|
11
|
|
[1]
|
String Quartet No. 3
|
String quartet
|
1966/1973
|
Ben Johnston
|
|
|
[2]
|
Daphne of the Dunes
|
Ensemble of Partch instruments
|
1967
|
Harry Partch
|
11
|
A rewriting of the earlier Windsong
|
[1]
|
Stimmung
|
6 singers
|
1968
|
Karlheinz Stockhausen
|
7
|
|
[4][5]
|
The Dreamer That Remains – A Study in Loving
|
Ensemble of Partch instruments
|
1972
|
Harry Partch
|
11
|
Text by Harry Partch
|
[1]
|
String Quartet No. 4
|
String quartet
|
1973
|
Ben Johnston
|
7
|
|
[6]
|
Spectral CANON for CONLON Nancarrow
|
Retuned player-piano
|
1974
|
James Tenney
|
|
|
[7][8]
|
Les espaces acoustiques
|
Viola/ensemble/large orchestra
|
1974–85
|
Gérard Grisey
|
|
|
[citation needed]
|
Harmonium #1
|
Open instrumentation
|
1976
|
James Tenney
|
|
|
[7][8]
|
Harmonium #2
|
2 guitars
|
1977
|
James Tenney
|
|
|
[7][8]
|
Harmonium #3
|
3 harps
|
1978–80
|
James Tenney
|
|
|
[7][8]
|
Harmonium #4
|
Ensemble and tape-delay system
|
1978
|
James Tenney
|
|
|
[7][8]
|
Harmonium #5
|
Violin, viola, cello
|
1978
|
James Tenney
|
|
|
[7][8]
|
Suite for Microtonal Piano
|
Retuned piano
|
1978
|
Ben Johnston
|
19
|
|
[9]
|
String Quartet No. 5
|
String quartet
|
1979
|
Ben Johnston
|
13
|
|
[6]
|
String Quartet No. 6
|
String quartet
|
1980
|
Ben Johnston
|
|
|
[6]
|
Harmonium #6
|
Flute, oboe, clarinet, bass clarinet, trumpet, trombone, sting quartet
|
1981
|
James Tenney
|
|
|
[7][8]
|
Das Andere
|
Viola
|
1983
|
Horatiu Radulescu
|
|
|
[citation needed]
|
String Quartet No. 7
|
String quartet
|
1984
|
Ben Johnston
|
|
|
[6]
|
String Quartet No. 8
|
String quartet
|
1984
|
Ben Johnston
|
|
|
[6]
|
KOAN for String Quartet
|
String quartet
|
1984
|
James Tenney
|
83
|
|
[7][8]
|
Embryo Without Tears
|
Original microtonal Instruments
|
1984
|
Kraig Grady
|
11
|
Live music composition and film L.A. Phil's American music weekend
|
[10]
|
Just Imaginings
|
Synthesizer
|
1986
|
Wendy Carlos
|
19
|
Beauty in the Beast album (1986)
|
[11]
|
That's just it
|
Synthesizer
|
1986
|
Wendy Carlos
|
19
|
Beauty in the Beast album (1986)
|
[11]
|
Yusae-Aisae
|
Synthesizer
|
1986
|
Wendy Carlos
|
19
|
Beauty in the Beast album (1986)
|
[11]
|
String Quartet No. 9
|
String quartet
|
1987
|
Ben Johnston
|
|
|
[6]
|
Long Gunn But Not Fogotten
|
Original microtonal Instruments
|
1987
|
Kraig Grady
|
11
|
Live music with multiple films
|
[10]
|
Mystery Without Clews
|
Original microtonal Instruments
|
1988
|
Kraig Grady
|
11
|
Live music composition and film
|
[10]
|
Critical Band
|
Ensemble
|
1988/2000
|
James Tenney
|
17
|
|
[7][8]
|
From Ancient Worlds
|
Retuned piano
|
1986–91
|
Michael Harrison
|
7
|
New Albion album (1992)
|
[citation needed]
|
In a large, open space
|
Open instrumentation (12+ sustaining instruments)
|
1994
|
James Tenney
|
|
|
[7][8]
|
String Quartet No. 10
|
String quartet
|
1995
|
Ben Johnston
|
|
|
[6]
|
Diapason
|
Chamber orchestra
|
1996
|
James Tenney
|
61
|
|
[7][8]
|
Diaphonic Trio
|
Violin, Retuned piano
|
1997
|
James Tenney
|
|
|
[7][8]
|
Harmonium #7
|
Open instrumentation (12+ sustaining instruments)
|
2000
|
James Tenney
|
|
|
[7][8]
|
Revelation: Music in Pure Intonation
|
Retuned piano
|
2001–06
|
Michael Harrison
|
7
|
Cantaloupe album (2007)
|
[citation needed]
|
Die Kantate, oder Gottes Augenstern bist du
|
Ensemble
|
2002–03
|
Wolfgang von Schweinitz
|
23
|
|
[2]
|
Les Duresses
|
Violin/2 violins
|
2004
|
Marc Sabat
|
37
|
|
[12]
|
Arbor Vitae
|
String quartet
|
2006
|
James Tenney
|
11
|
|
[7][8][13]
|
Plainsound Glissando Modulation, op. 49
|
Violin, contrabass
|
2006–07
|
Wolfgang von Schweinitz
|
13
|
RAGA in just intonation
|
[2]
|
Hairy Hippy Happy
|
Horn, trombone, tuba
|
2006–10
|
Marc Sabat
|
23
|
|
[12]
|
Just Ancient Loops
|
Multi-track cellos
|
2008–12
|
Michael Harrison
|
11
|
Cantaloupe album (2012)
|
[citation needed]
|
Euler Lattice Spirals Scenery
|
String quartet
|
2011
|
Marc Sabat
|
7
|
|
[12]
|
Our Rainy Season
|
Flute, bass flute, alto saxophone, contrabass
|
2011
|
Kraig Grady
|
167
|
either/OAR album (2011)
|
[14]
|
Lying in the grass, river and clouds
|
Piano, ensemble
|
2012
|
Marc Sabat
|
23
|
chamber concerto
|
[12]
|
Jaunpuri (Rendition of a Raga)
|
Retuned piano, tabla, tanpura
|
2012–15
|
Michael Harrison
|
3
|
Innova album (2017)
|
[citation needed]
|
Gioseffo Zarlino
|
2+ instruments
|
2015
|
Marc Sabat
|
13
|
|
[12]
|
Harmonic Constellations
|
Multi-track violins, electronics
|
2015–16
|
Michael Harrison
|
7
|
New World Records album (2016)
|
[citation needed]
|
Just Constellations
|
Roomful of Teeth vocal octet
|
2015–16
|
Michael Harrison
|
11
|
|
[citation needed]
|
Asking ocean
|
String quartet, large ensemble
|
2016
|
Marc Sabat
|
13
|
|
[12]
|
For organ and brass
|
Meantone organ, brass trio
|
2016
|
Ellen Arkbro
|
7
|
|
[2]
|
Cello Constellations
|
Multi-track cellos, electronics
|
2016–17
|
Michael Harrison
|
13
|
Miasmah album (2018)
|
[citation needed]
|
Prisma Interius I
|
Open instrumentation
|
2017
|
Catherine Lamb
|
|
|
[15]
|
Prisma Interius II
|
Solo synthesizer
|
2017
|
Catherine Lamb
|
|
|
[15]
|
Prisma Interius III
|
Viola, voice, synthesizer
|
2017
|
Catherine Lamb
|
|
|
[15]
|
Prisma Interius IV
|
Bass flute, 2 violas, gamba, voices, synth
|
2017
|
Catherine Lamb
|
13
|
|
[15]
|
Prisma Interius V
|
Harp, clarinet, wine glasses, synthesizer, string orchestra
|
2017
|
Catherine Lamb
|
|
|
[15]
|
Prisma Interius VI (for V.T.)
|
Viola, synthesizer (plus viola, cello)
|
2017
|
Catherine Lamb
|
|
|
[15]
|
HANDS to MOUTHS
|
Fixed media installation: female Dhrupad voice, video
|
2018
|
Marc Sabat
|
|
Video by Mareike Yin-Yee Lee[16]
|
[12]
|
Prisma Interius VII
|
Violin, synthesizer
|
2018
|
Catherine Lamb
|
|
|
[15]
|
Prisma Interius VIII
|
Clarinet/tenor recorder, violin/viola, cello, guitar/contrabass, two synthesizers
|
2018
|
Catherine Lamb
|
|
|
[15]
|
Prisma Interius IX
|
Flute, trumpet, bass trombone, guitar, violin, viola, cello/voice, vox/gamba, synthesizer
|
2018
|
Catherine Lamb
|
|
|
[15]
|
The Luminiferous Aether
|
Orchestra (3.3.3.3/4.3.2.1/Timp.3/Hrp/Str)
|
2018
|
Marc Sabat
|
|
|
[12]
|
Bercer (to rock)
|
Solo cello
|
2019
|
Thomas Nicholson
|
13
|
|
[17]
|
Gliding Drones
|
Mixed choir, string orchestra, electronic sine waves
|
2019
|
Matej Sloboda
|
|
|
[citation needed]
|
Monument of Diamonds
|
Trumpet, saxophone, trombone, organ
|
2019
|
Kraig Grady
|
151
|
Another Timbre album (2019)
|
[citation needed]
|
Port (Rondo for Marcus Pal)
|
SuperCollider
|
2020
|
Thomas Nicholson
|
37
|
|
[17]
|
Harmonium (glistening)
|
Open instrumentation
|
2021
|
Thomas Nicholson
|
19
|
|
[17]
|
Inner Voice
|
Electric guitar, string quartet, electronics
|
2021
|
Marc Sabat
|
|
|
[12]
|
Nocturne
|
Flute, bass flute, alto saxophone, bass trombone, accordion, electric guitar, harp, violin, cello
|
2022
|
Thomas Nicholson
|
13
|
|
[17]
|
To walk in this what came to pass
|
Flauto traverso, baroque oboe, theorbo, positive organ, bass flute, harp, Fender Rhodes synth, strings
|
2022
|
Marc Sabat
|
|
|
[12]
|