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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Beethoven Returns to Bonn: Origins, Belonging and Misuse in Mauricio Kagel’s Ludwig van (1969) by Elaine Fitz Gibbon

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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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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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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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