Brubaker has published articles about music and semiotics,[14] and performance as research.[15] His blog, "PianoMorphosis", appears at ArtsJournal.com.[16] Brubaker advocates the treatment of written music as "text". He has sometimes performed and recorded new music without the direct input of the composer.[17] Brubaker has said: "The piano is a tool that can be used in different ways. Classical music can be taken as material for new art."[18] Brubaker has argued that technology is returning music to a pre-composer condition, and equalizing or blurring the roles of listener, performer, and composer. In a conversation with Philip Glass at Princeton, Brubaker referred to "the demise of the composer". Brubaker said: "Now, it's becoming a little less clear who creates a work, who plays the work, and who listens to the work. Those roles used to seem to be so clear – you know, Beethoven wrote it, Brendel played it, and the audience at Carnegie heard it. But I don't think that quite works anymore."[19]
Glassforms, music by Philip Glass, Bruce Brubaker, and Max Cooper, InFiné, 2020
Glassforms Versions, music by Philip Glass, Bruce Brubaker, Max Cooper, Donato Dozzy, Laurel Halo, Tegh, and Daniele Di Gregorio, InFiné, 2021
Eno Piano, music by Brian Eno and others, Bruce Brubaker, piano, InFiné, 2023
Eno Piano 2, music by Brian Eno and others, Bruce Brubaker, piano, InFiné, 2024
Arrangements and transcriptions
John Adams: “Pat’s Aria” (from Nixon in China) (transcribed for piano by Bruce Brubaker)
Brian Eno: Music for Airports (transcribed for piano by Bruce Brubaker and Simon Hanes)
Brian Eno: By This River (transcribed for piano by Bruce Brubaker)
Brian Eno: The Chill Air (transcribed for piano by Bruce Brubaker)
Brian Eno: The Big Ship (transcribed for piano by Bruce Brubaker)
Brian Eno: Failing Light (transcribed for piano by Bruce Brubaker)
Philip Glass: “Knee Play 4” (from Einstein on the Beach) (transcribed for solo piano by Bruce Brubaker)
Philip Glass: “The Poet Acts” (from ‘The Hours’ (transcribed for solo piano by Bruce Brubaker)
(Gustav Mahler:) Bruce Brubaker’s Mahler’s Ninth Symphony (piano, violin, viola, cello)
Olivier Messiaen: Prelude No. 1, “La colombe” (transcribed for flute and piano by Bruce Brubaker, for Paula Robison)
Meredith Monk: Totentanz (transcribed for 2 pianos by Bruce Brubaker)
Meredith Monk: Parlour Games (transcribed for 2 pianos by Bruce Brubaker)
Meredith Monk: Urban March (Shadow) (transcribed for 2 pianos by Bruce Brubaker)
Meredith Monk: Tower (transcribed for 2 pianos by Bruce Brubaker)
^"Dear Glenn". Yamaha Corporation. Retrieved December 29, 2023.
^Brubaker, Bruce, Bruce (2009). "Time is Time: Temporal Signification in Music". Unfolding Time: Studies in Temporality in Twentieth-Century Music. Leuven, Belgium: Leuven University Press. ISBN9789058677358.
^Brubaker, Bruce (2000). "Strengen Sachlichkeit: The Teaching of Jacob Lateiner". Pianist, Scholar, Connoisseur: Essays in Honor of Jacob Lateiner. Pendragon Press. pp. 187–221. ISBN9781576470015.
^Brubaker, Bruce (Winter 2011). "Surrounded by this Incredible Vortex of Musical Expression: A Conversation with Gunther Schuller". Perspectives of New Music. 49 (1). Seattle, Washington: Perspectives of New Music, Seattle: 172–181.