KONTAKTE (1958-60), 18.1. The Origins of the Piece, 18.2. KONTAKTE and Its Mysticism, 18.3. The Versions of KONTAKTE, 18.4.
The Surprising Fusion Between the Instrumental and Electronic Universes, 18.5. Innovations in KONTAKTE, 18.6. About the Differences of Durations in the Score, 18.7. Regarding Spatiality, 18.8.
The Use of Electronic Pulses, 18.9. Regarding Timbre Families, 18.10. The Iterative Copy Procedure (Dauerkopierverfahren), 18.11. Serial Music?, 18.12.
The Invention of the Moment-Form, 18.13. The Types of Moment in KONTAKTE, 18.14. Motive Recurrences, 18.15. The Use of the Fibonacci Series, 18.16.
The Unity of Musical Time, MOMENTE (1962-64/69), 19.1. The Typology of Moments and the Love, 19.2. Regarding Instrumentation, 19.3. Regarding the Texts Used, 19.4.
The Open Form of MOMENTE, 19.5. The Binary Oppositions and Their Stratification, 19.6. Harmonic Center and Expansions in MOMENTE, 19.7. A Review of MOMENTE and Its Actuality, Extensions, MIKROPHONIE I (1964), 21.1.
The Spectral Extent of the Physical Instrument, 21.2. The Organological Extent of the Physical Instrument, 21.3. The Internalization of Polyphony: Micro-Phony, 21.4. Serial Numerology in MIKROPHONIE I, 21.5.
The Microphone as an Instrument, 21.6. Towards Words: Sound Categories and Quasi-Onomatopoeias, 21.7. The Moments and Form of MIKROPHONIE I, 21.8. Rite and Communion, 21.9.
Approaching and Distancing in Relation to Musique Concrète, MIXTUR (1964), 22.1. The Strangeness with Boulez, 22.2. Ring Modulation and Its Complexity, 22.3. Regarding Instrumentation, 22.4.
The Musical Form: Its Characters and Reversibility, 22.5. Regarding Serial Thought and the Organization of Pitches, 22.6. Tachism-Music?, TELEMUSIK (1966), 23.1. Collage of Materials or New Polyphony?, 23.2.
The Form and Realization of the Work, 23.3. A Work Full of Signals, 23.4. Intermodulation, 23.5. Music of the Nervous System, 23.6.
An Undeniable, Yet Unrealizable Request, HYMNEN (1966-67), 24.1. Origins of the Piece and Its Designation, 24.2. The Different Versions of HYMNEN, 24.3. Once Again Intermodulation, and Radical Extensions, 24.4.
Regarding Materials and Form, 24.5. The Use of Quotations and Referentiality in HYMNEN, 24.6. The Controversy Surrounding the Anthems, 24.7. The Making of the Magnetic Tape and the Sonorities of HYMNEN, Universals, STIMMUNG (1968), 26.1.
The Formants' Song, 26.2. A Vocalic Music, 26.3. Enjoyment or Alienation?, 26.4. STIMMUNG's Vocal Micro-Macro-Spatiality, 26.5.
Regarding the Form, 26.6. As for the Poems Used, 26.7. Regarding the Days of the Week, 26.8. Stockhausen's Vocalic Square, 26.9.
The Tempos, the Rhythm of the Models and Their Main Vowels, 26.10. The "Error" as a Deviation, 26.11. From Multiple to One, From One to Multiple, KURZWELLEN (1968), Processes, AUS DEN SIEBEN TAGEN (1968) and FÜR KOMMENDE ZEITEN (1968-70).