As a composer who has worked very closely with a harpist on (admittedly tonal) music, I am very much in agreement with Gardener's approach.  I've thought of this approach, before, myself.  Yes, it will leave some holes in the 24-TET multi-octave scale, but good planning by the composer will help greatly. I'm only now dipping my toes into the problems of quarter-tone orchestral writing that (hopefully) won't be a disaster.  Bowed strings with their unfocused mass (relative to woodwinds, etc.) and vibrato supposedly make for more convincing performances of quarter-tone harmonies.  However, I fear that even professional-level players will be aurally disoriented by the intervals.  One possible solution is to use a harp (treated in Gardener's way) to provide a subtle undercurrent of solidly plucked pitches to help orient the ears of the bowed string players.  Just a thought... That said, I can speak from experience on the matter of the challenge of "mixed scordatura", which is to say scordatura that varies among the individual strings of a multi-stringed instrument:  I composed a short duo for violin and viola - both with mixed scordatura so as to facilitate a Pagannini-ish (albeit much slower) simultaneous left-hand pizz with right-hand bowing of just the right pitches, as well as to facilitate certain quick double-stops to effect four-part polyphony (canons) between the two players.  To be safe, I provided TWO versions of the score and parts:  One version expressed the notes corresponding to standard fingering.  The other version expressed the actual sounded pitches.  Initially, the producer forwarded only the version that expressed the fingering (not the sound) - and soon I got the panicked e-mail because the players have perfect pitch and were thoroughly confused by the discrepancy between what they saw and what they heard!  Fortunately, I asked the producer to send the OTHER version of my score and parts to the players - and bam - an amazingly good performance ensued.

I've added the score.

Thanks, so much, Thatguy!  It's me.  I like to sing through things when they are in my range so folks get a better sense of how the lyrics sit in the music at a first listen.   Yes, there was apparently a constant stream of abuse and paternalism while they were on tour.  At the same time, they were doing sold out concerts in major venues and performing for the British royal family, so the whole experience was... a lot.  There is a good historical record of the whole thing from letters that survived.   Katie Manye isn't a well-known historical figure.  She was a member of a large musical group, not a solo act, and then she went home and did boots on the ground work that does much good, but doesn't earn headlines.  What she said really resonated with me too.   The nice thing about this one is it's really just a round of "I don't sing," and "All shall be well," with a verse layered on top for interest, so it sounds a bit complicated but you could teach it to someone who doesn't read music, as a campfire song for instance.  I'm so glad you enjoyed it!  Thanks for taking the time to listen.  

Thank you for the kind words! Interesting to hear what people think about the somewhat dissonant stuff. I'm quite used to it and as it's my own piece there's always a chance that I perceive it as more coherent and conventional than how others might perceive it. Ultimately I prefer slow moving, easy on the mind kind of music. As for a score... maybe in the future... but I'm ashamed to admit that I find that part of composing to be very painful 😄