During the Exposition Universelle of 1889, Claude Debussy heard a Balinese gamelan performance and was exposed to non-Western tunings and rhythms. Some scholars have ascribed Debussy's subsequent innovative use of the whole-tone (six equal pitches per octave) tuning in such compositions as the "Fantaisie for piano and orchestra" and the Toccata from the suite "Pour le piano" to his exposure to the Balinese gamelan at the Paris exposition, and have asserted his rebellion at this time "against the rule of equal temperament" and that the gamelan gave him "the confidence to embark (after the 1900 world exhibition) on his fully characteristic mature piano works, with their many bell- and gong-like sonorities and brilliant exploitation of the piano's natural resonance". Still others have argued that Debussy's works like "L'isle joyeuse", "La cathédrale engloutie", "Prélude à l'après-midi d'un faune", "La mer", "Pagodes", "Danseuses de Delphes", and "Cloches à travers les feuilles" are marked by a more basic interest in the microtonal intervals found between the higher members of the overtone series, under the influence of Helmholtz's writings. Emil Berliner's introduction of the phonograph in the 1890s allowed much non-Western music to be recorded and heard by Western composers, further spurring the use of non-12-equal tunings.