| 1. Das Schaffen Gustav Mahlers (eight lectures), Sonderdruck des Bayerischen Rundfunks, Munich, Germany (1960). 2. Synthetischer Klang und Klangsynthese (eight lectures), Sonderdruck des Bayerischen Rundfunks, Munich, Germany (1961). 3. Musik und Information (eight lectures), Sonderdruck des Bayerischen Rundfunk, Munich, Germany (1961). 4. Against Plausibility, Perspectives of New Music, Annandale-on- Hudson, New York, vol.2, no.1, pp.43-50 (1963). 5. Existieren als Komponist, forum, Vienna, Austria, Heft 130, pp.499- 501(1964). 6. Betrachtungen eines Betelligten, forum, Vienna, Austria, Heft 144, pp.595-599 (1965). 7. Substitute or Analogy?, Nudita Musk, Stockholm, Sweden; no.7, pp.27-31(1965-66). 8. Mit verdorrten Zungen, Sprache und Musik, Studio für Neue Musik, Hessischer Rundfunk, Frankfurt, Germany, part IV (1966). 9. Research on the conditions under which a system of digital and analog computers would assist a composer in creating music of contemporary relevance and significance, Proceedings of First Meeting of the American Societv of University Composers, Princeton University, pp.30-37 (1966). 10. Chaos and Organization, Institute of Contemporary Arts Bulletin, London, England; no.166, pp.8-11(1967). 11. Muzyka i informacja, Res Facta Ill, Polski Wydawn ictwo Muzyczne, Krakow, Poland, pp.172-191(1969). 12. Infraudibles, Music by Computers, Heinz von Foerster and James Beauchamp (eds.), John Wiley & Sons, Inc. New York; pp.117- 121(1969). 13. Mit verdorrten Zungen, Musik auf der Flucht vor sich selbst, Ulrich Dibelius (ed.), Hanser Verlag, Munich, Germany; pp.45-54 (1969). 14. From Musical Ideas to Computers and Back, The Computer and Music, Harry B. Lincoln (ed.), Cornell University Press; pp.23-36 (1970). 15. Über Musik und zum Computer (including a record and twenty computer graphics by the author), G. Braun Verlag, Karlsruhe, Germany; 129 pages (1971). 16. Technology and the Composer; La Revue Musicale - UNESCO meeting: Music and Technology (special edition of papers presented in Stockholm, Sweden, June 1970), Paris; pp.181-192 (1971) 17. Technology and the Composer (expanded version), lnterpersonal Relational Networks, Heinz von Foerster (ed.), CIDOC Cuarderno no.1014, Centro Intracultural de Documentation, Cuernavaca, Mexico; pp.1-25 (1971). 18. Mutatis Mutandis, Neue Musik (special edition for the Olympic Games), Munich, Germany; pp.7-11(1972). |
19. Probleme der Verständigung, HiFi Stereophonie, Verlag G. Braun, Karlsruhe, Germany; pp.587-590 (1973). 20. ... to hold discourse, at least with a computer..., Guildhall School of Music and Drama Review, London, England; pp.16-21(1973). 21. Mutatis Mutandis,Munus-West, Mercer Island, Washington; no.4, pp.31-34(1973). 22. Mutatis Mutandis: Compositions pour interprètes, Les Cahiers Sesa, Paris, France; no.5, pp.22-23 (1973). 23. DRAWING DISTINCTIONS LINKS CONTRADICTIONS, Perspectives of New Music, Annandale-on-Hudson, New York; vol.12, nos. 1-2, pp.29-39 (1973-1974). 24. Geste unter Zwang, Herausforderung Schonberg: Was die Musik des Jahrhunderts veränderte, Ulrich Dibelius (ed.), Hanser Verlag, Munich, Germany; pp.137-150 (1974). 25. Competition vs. Co-operation: Graphic Analogues, Cybernetics of Cybernetics, University of Illinois, Urbana, Illinois; pp.382-385 (1974). 26. A Portrait of Herbert Brün, interview by Stuart Smith, Perspectives of New Music, Annandale-on-Hudson, New York; vol.17, no.2, pp.56-75 (1979). 27. To One Of Those Who Do Indeed Leave Traces, Perspectives of New Music, Annandale-on-Hudson; vol.18, nos. 1-2, pp. 107-131 (1979-1980). 28. My words but where I want them, Allos, Kenneth Gaburo (ed.), Lingua Press, La Jolla, California; pp.203-213 (1980). 29. Geste unter Zwang, Philharmonischer Almanach II, Berliner Philharmonisches Orchester (ed.), Berlin, Germany (1983). 30. An interview with Herbert Brün, interview by Thomas Siwe, Percussive Notes Research Edition, vol.22, no.3, pp.1-12 (1984). 31. Guest Editorial, Keyboard Magazine, Cupertino, California; vol.11, no.12, pp.8+(1985). 32. The Premise Is That There Be Music, Proceedings of the International Computer Music Conference 1985, Vancouver, Canada; pp.1-4(1985). 33. Interview with Herbert Brün, interview by Peter Hamlin, Composers and the Computer, Curtis Roads (ed.), William Kauffman, Inc., Los Altos, California; pp.1-15 (1985). 34. Technology and the Composer, Digitalk: The News Publication for Digital Art and Music, Vancouver, Canada, p.8 (1985). 35. to hold discourse at least with a computer, Cybernetic, George Mason University, Fairfax, Virginia; vol.1, no. 1, pp.42-46 (1985). 36. My words and where I want them, Princelet Editions, London and Zurich (1986). 37. From musical ideas to computers and back, Journal SEAMUS, vol.2, no.2, pp. 18-28 (1987). |
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