Everett, Yayoi Uno. “Intercultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy..” In TLocating East Asia in Western Art Music, edited by Yayoi Uno Everett Frederick Lau (ebanon: Wesleyan, 2004), –21.
Burt, Pete. “Descent into the pentagonal garden.” he Music of Toru Takemitsu, (Cambridge: Cambridge University Press, 2006), 160–74.
Hosokawa, Toshio. “The Pattern and the Fabric: In Search of a Music, Profound and Meaningful.” sthetik und Komposition : zur Aktualität der Darmstädter Ferienkursarbeit , 20 (1994): 74–78.
Toru Takemitsu, Garden Rain, for brass ensemble (1974)
Toru Takemitsu, A Flock Descends on the Pentagonal Garden, (1987)
Toshio Hosokawa, Cloudscapes - Moon Night, for sho and accordian (1998)
Toshio Hosokawa, Kalligraphie, for string quartet (2007-09)
Toshio Hosokawa, Lotus Under the Moonlight, piano concerto (2008)
Toshio Hosokawa, Kalligraphie, movement V, for string quartet (2010) as pdf and Word doc, score, due February 20
General
Cho, Joanne Miyang. Musical Entanglements between Germany and East Asia: Transnational Affinity in the 20th and 21st Centuries(Heidelberg: Springer Nature, 2021).
Everett, Yayoi Uno. "Transcending Ethnicity: Post-Spectral Music By Xu Yi, Anthony Cheung, and Yoshiaki Onishi." In The Oxford Handbook of Spectral Music. Edited by Amy Bauer, Liam Cagney and Will Mason (Oxford: Oxford University Press, 2021).
Long, Stephen. "Japanese Composers of the Post-Takemitsu Generation." Tempo. 58/228 (2004): 14–22.
Terauchi, Naoko. “Surface and Deep Structure in the Tôgaku Ensemble of Japanese Court Music (Gagaku).” In Analytical and Cross-Cultural Studies in World Music, edited by Tenzer and John Roeder (Oxford: Oxford University Press, 2011), 19-55.
Utz, Christian. "Listening Attentively to Cultural Fragmentation: Tradition and Composition in Works By East Asian Composers." The World of Music 45/2 (2003): 7–38.
Wade, Bonnie. Composing Japanese Musical Modernity, (Chicago: University of Chicago Press. 2014).
Yamauchi, Fumitaka. “Contemplating East Asian Music History in Regional and Global Contexts: On Modernity Nationalism and Colonialism Decentering Musical Modernity: Perspectives on East Asian and European Music History.” In Decentering Musical Modernity: Perspectives on East Asian and European Music History , (Belefeld: transcript Verlag, 2021): 313–36.
Yi, Hyejin. "National Cultural Memory in Late-Twentieth-century East Asian Composition: Isang Yun, Hosokawa Toshio and Zhu Jian’Er". The World of Music, 6/1 (2017): 73–101.
Cornwell, Lewis. "Toru Takemitsu’s November Steps." Journal of New Music Research. 31/3 (2002): 211–20..
Deguchi, Tomoko. "The Appeal of the Foreign in Toshio Hosokawa’s Opera Matsukaze." Global Musical Modernisms . 11 (3030).
Hansen, Niels Chr. "Japanese in Tradition, Western in Innovation’: Influences From Traditional Japanese Music in Toru Takemitsu’s Piano Works." Dutch Journal of Music Theory 15/2 (2010): 97-114.
Hosokowa, Toshio and Carme Miró. “Interview With Toshio Hosokawa.” Sonograma, 9 (2011).
Hutchinson, Mark. "Dreams, Gardens, Mirrors: Layers of Narrative in Takemitsu’s Quotation of Dream." Contemporary Music Review, 33/4 (2014): 428-463.
Nuss, Steven. "'Hearing' Japanese, Hearing Takemitsu." Contemporary Music Review, 21/4 (2002): 35-71.
Smaldone, Edward. "Japanese and Western Confluences in Large-Scale Pitch Organization of T?ru Takemitsu’s November Steps and Autumn." Perspectives of New Music, 27/2 (1989): 216–31.
Zbikowski, Lawrence M. "Musical Time, Embodied and Reflected. (Takemitsu guitar music." In Music in Time: Phenomenology, Perception, Performance, edited by Alexander and Suzannah Clark Rehding, 33–54. Cambridge, MA: Harvard University Press, 2016.