Akademisk avhandling--Phil.--Stockholm, 1993. / Bibliogr. p. 198-201.

Thesis (M.A.)--University of California, Los Angeles, 1967. / Bibliography: leaves 193-196.

Thesis (Ph. D.)--University of California, Los Angeles, 1974. / "This study is a continuation of my study, Scales and Modes in the Music of West Java (1972) in the sense that it is a study of modal practice in a single ensemble, tuned to one of the Sudanese scales." Includes bibliographical references (leaves 208-217).

John Cage ¡]1912-1992¡^, American composer who received most attention on the development of 20th century music. His new concepts of music transformation gave tremendous influence to the 20th century music development. In 1940, Cage was invited to compose for dance, in the process, he applied the experience of studing with Henry Cowell; completed the first prepared piano work, Bacchanale. The apex of composing prepared piano works was from 1942 to 1952. Cage all together composed twenty pieces for prepared piano. Prepared piano is a concept that changes the timbre and pitches of traditional piano by insert some preparations, like bolts, screws, rubbers or woods into the strings. According to the material quality, these preparations that Cage used including five types, hardware, woods, rubbers, plastics and clothes. We can make piano to produce timbre like percussions through these preparations. Besides introduction and conclusion, this research consists of three parts. Part one discusses the development of avant-garde and non-traditional piano techniques in America in 20th century. Part two discusses Cage¡¦s life to realize the multiformity of his composition ideas. Part three discusses the origination of prepared piano, and takes Mysterious Adventure as example to explore the type materials of preparation and the similarities with gamelan music.

Thesis (Doctoral)--Universiteit van Amsterdam, 1977. / Includes bibliographical references (leaves 165-169).

Thesis (doctoral)--Université de Paris V, 1997. / Includes bibliographical references (p. 573-586) and index.

Thesis (Ph. D.)--University of Texas, 1981. / Includes bibliographical references (p. 240-244).

Ce mémoire décrit ma réflexion et mon approche méthodologique de la composition et de l'analyse des oeuvres produites dans le cadre du Gamelan Elektronik, un terme que j'utilise pour englober mon approche et mes techniques de composition. Ce dernier se concentre sur la recherche et la collecte de diverses méthodes et techniques adaptées à la combinaison du gamelan balinais et de la musique électronique. La recherche a été influencée par l'apprentissage de théories, de techniques et de pratiques de composition musicale qui crée un pont entre les mondes disparates du gamelan et de l'électronique, tout en développant un cadre d'analyse de ces compositions. Gamelan Elektronik vise donc à intégrer la pratique, la composition et la culture du gamelan à l'étude de l'histoire, de la technique et de la pratique de la musique électronique. En documentant mes façons créatives d'utiliser la technologie et sa relation avec les approches du gamelan balinais, J'espère que cette recherche pourra servir de point de départ à d'autres compositeurs créatifs et chercheurs dans ces domaines. / This Master’s thesis describes my thinking and methodological approach in composing and analyzing works that have been produced under the umbrella of Gamelan Elektronik, a term I use to encompass my perspective and methods in my compositional process. Gamelan Elektronik focuses on seeking and collecting various methods and techniques suitable for combining Balinese gamelan and electronic music. The research was affected through learning theories, techniques, and practices for composing music which bridges the disparate worlds of gamelan and electronics, while developing a framework for analyzing these compositions. Therefore, Gamelan Elektronik aims to integrate gamelan practice, composition and culture, with a study of electronic music history, technique and practice. By documenting my creative ways of using technology and its relationship to Balinese gamelan approaches, I hope this research can be a point of departure for future development by other innovative composers and researchers in these fields. / Tesis ini menguraikan pemikiran dan pendekatan metodologis saya dalam menyusun dan menganalisis karya-karya yang dihasilkan di bawah payung Gamelan Elektronik, sebuah istilah yang saya gunakan untuk menjabarkan sudut pandang dan metode dalam proses komposisi saya. Gamelan Elektronik berfokus pada pencarian dan pengumpulan berbagai metode dan teknik yang cocok untuk menggabungkan gamelan Bali dan musik elektronik. Penelitian ini dipengaruhi melalui pembelajaran teori, teknik, dan praktik untuk menggarap musik yang menjembatani perbedaan dunia gamelan dan elektronik, sekaligus mengembangkan kerangka kerja untuk menganalisis komposisi tersebut. Oleh karena itu, Gamelan Elektronik bertujuan untuk mengintegrasikan praktik, komposisi, dan budaya gamelan dengan kajian sejarah, teknik, dan praktik musik elektronik. Dengan mendokumentasikan cara-cara kreatif saya dalam menggunakan teknologi dan hubungannya dengan pendekatan gamelan Bali, saya berharap penelitian ini dapat menjadi titik tolak pengembangan di masa depan oleh para komposer dan peneliti inovatif di bidang ini.

Thesis--Amsterdam. / Includes bibliographical references (p. 249-255). Also issued online.

Thesis--Amsterdam. / Includes bibliographical references (p. 249-255).