Analyzing the expansion of timbric possibilities in the Concert Piece for timpani and orchestra by Mauricio Kagel by Matheus Augusto Ribeiro, Antenor Ferreira Correa

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Libretto of Mauricio Kagel’s Sankt-Bach-Passion: Between Tradition and Avant-Garde by Laurenţiu BELDEAN, Małgorzata LISECKA, Ciprian ŢUŢU

Subjects: “…Mauricio Kagel…”
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A vocação política do teatro musical contemporâneo: o exemplo de três obras de Mauricio Kagel, Hans Werner Henze e Helmut Lachenmann by Ledice Fernandes de Oliveira Weiss

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Postmodern Music and its Future by Marcin Rychter

“…After initial considerations on the manifold usages of the term “postmodernism,” five composers’ approaches will be analyzed: John Cage, Philip Glass (and other minimalists), Bernhard Lang, Mauricio Kagel and Johannes Kreidler. However different they may be from one another, all these composers are being interpreted as undermining, in various ways, the practice and theoretical background of modernist avant-garde music.…”
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Croisements paysage/danse/musique : écritures entre composition et improvisation by Mathilde Christmann

“…Through the study of three creative devices – Lawrence Halprin in landscape, Mauricio Kagel in music, and Myriam Gourfink in dance – the issue of tension between composition and improvisation opened to motion is raised.…”
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Investigación y políticas institucionales para la inclusión en la universidad by Stella Maris Más Rocha, Viviana Mancovsky

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Sewing Frankenstein!! Instrumental Theatre in Austria between 1960 and 1980 by Lucia Agaibi, Martina Kalser-Gruber

“…Zykan and HK Gruber, taking into account the predecessor works of Mauricio Kagel. Zykan’s Singers Nähmaschine ist die beste: Oper oder Ode oder Opernode (Singer’s sewing machine is the best: Opera or ode or opera-ode) of 1966, his Inscene 1 and Inscene 2 of 1967, and Gruber’s Frankenstein!!…”
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Musikalisches Zitat als kulturelle Assoziation. Die ästhetische Bedeutung des musikalischen Zitats in der koreanischen Musik des 20. und 21. Jahrhunderts by Hee Sook Oh

“…Musical quotation, as a technique of using the pre-existing materials in the music composition, has an important significance in both quantitative and qualitative aspects since the late 20th century, as can be seen from works of Bernd Alois Zimmermann, Luciano Berio, Mauricio Kagel, Alfred Schnittke, George Rochberg, George Crumb. …”
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