^ abCrutchfield, Will (December 17, 1989). "Wozzeck Speaks to Us by Mixing Two Musical Modes", The New York Times. "Alban Berg's Wozzeck was the first atonal opera to get anywhere near standard repertory status, and it is still the only one. (Berg's second opera, Lulu, is the only other remote contender.)"
^ abSteib, Murray (2013). Reader's Guide to Music: History, Theory and Criticism, p. 77. Routledge. ISBN9781135942625. George Perle, "explains Berg's musical language as a great mixture of devices and techniques—some carried over from atonal style of Wozzeck, other reflecting an idiosyncratic approach to twelve-tone composition that owes relatively little to the ideas of Schoenberg."
^Carpenter, Alexander (2005). "Alban Berg", All Music Guide to Classical Music: The Definitive Guide to Classical Music, p.140. Hal Leonard. ISBN9780879308650. "...marking the near-end of the composer's freely atonal period...and is notable for the manner in which Berg combines atonal and 12-tone music in the same work with ease."
^Haimo, Ethan (2006). Schoenberg's Transformation of Musical Language, p. 3. ISBN9780521865425.
^Smith, Quentin (2010). Felt Meanings of the World: A Metaphysics of Feeling, p. 7. ISBN9781557535986. Contains typo: refers to quartet no. 4.
^Forte, Allen (1973). The Structure of Atonal Music. New Haven and London: Yale University Press.
^Rahn, John. "Analysis Two: Schoenberg's Five Pieces for Orchestra: Farben, Op. 16, no. 3". In his Basic Atonal Theory, 59–73. New York and London: Longman, 1980. ISBN0-582-28117-2.
^Brinkmann, Reinhold. 1969. Arnold Schönberg: Drei Klavierstücke Op. 11: Studien zur frühen Atonalität bei Schönberg. Supplement to the Archiv für Musikwissenschaft 7. Wiesbaden: Franz Steiner Verlag.
^Forte, Allen. 1972. "Sets and Nonsets in Schoenberg's Atonal Music". Perspectives of New Music 11, no. 1 (Tenth Anniversary Issue (Fall–Winter): 43–64.
^Malhomme, Florence. 1997. "Les Trois pièces pour piano op. 11 de Schoenberg: principes d'organisation de l'espace musical atonal". Musurgia 4, no. 1, Dossiers d'analyse): 84–95.
^Perle, George. 1977. Serial Composition and Atonality, fourth edition, revised. Berkeley and Los Angeles: University of California Press. ISBN0-520-03395-7.
^Straus, Joseph N. 2000. Introduction to Post-Tonal Theory, second edition. Upper Saddle River, New Jersey: Prentice Hall. ISBN0-13-014331-6.
^Simms, Bryan R. (1996). Music of the twentieth century: style and structure, p. 191. ISBN9780028723921. "The Rite of Spring is atonal despite the diatonic content of its folk tunes."
^Young, Percy Marshall (1969). Stravinsky: Masters of Music, p. 43. Benn. "...the composer of the atonal The Rite of Spring..."
