Last revision: April 10, 2017
Born: September 9, 1947, Fairfield, Iowa, USA
1990-present Dean, The Herb Alpert School of Music; Richard Seaver Distinguished Chair in Music; California Institute of the Arts
Academic Positions and Activities
2011 Co-Acting President, California Institute of the Arts
2006 Visiting Faculty, Computer Music Course, Music Department, Ionian University, Corfu, Greece
2006-2010 Composer in Residence/Faculty/Guest Composer, Center for Advanced Musical Studies at Chosen Vale, Summer Seminars, Enfield, NH.
2003 Faculty, Milton Avery Graduate School of the Arts, Music/Sound Program, Bard College
2002 Visiting Artist, Milton Avery Graduate School of the Arts, Music/Sound Program, Bard College
1995 George A. Miller Visiting Professor of Music, University of Illinois, (residency in celebration of the centennial of the U. of I. Music School)
1990-present Dean/Professor/Richard Seaver Distinguished Chair in Music, The Herb Alpert School of Music, California Institute of the Arts
1990, 1991 Faculty, Summer Institute, Music Intensive, Centre for the Arts, Simon Fraser University, Vancouver
1989-1990 Professor of Music and Director, Center for Contemporary Music, Mills College, Oakland
1988-1990 Darius Milhaud Chair in Music, Mills College, Oakland
1988 Faculty, California College of Arts and Crafts, Oakland
1988 Visiting Faculty, Banff Centre School of Fine Arts, Alberta, Canada
1984-1990 Head, Department of Music, Mills College, Oakland
1983-1989 Associate Professor (tenured) of Music and Director, Center for Contemporary Music, Music Department, Mills College, Oakland
1982-1983 Assistant Professor of Music and Coordinator, Center for Contemporary Music, Music Department, Mills College, Oakland
1981-1982 Visiting Assistant Professor of Music and Interim Coordinator, Center for Contemporary Music, Music Department, Mills College, Oakland
1981-1984 Instructor, Humanities Division, San Francisco Art Institute
1980-1981 Lecturer in Music, Instructor in Piano and Composition, Director, Contemporary Music Ensembles, Music Department, Mills College, Oakland
1979-1980 Director, Contemporary Music Ensembles and Instructor in Piano, Music Department, Mills College, Oakland
1977 Visiting Lecturer, Graduate Music Composition Dept., School of Music, University of Illinois, Urbana
1976-1979 Associate Professor (tenured) of Music and Interdisciplinary Studies, Faculty of Fine Arts, York University, Toronto
1972-1975 Assistant Professor of Music and Interdisciplinary Studies, Faculty of Fine Arts, York University, Toronto
1971-1972 Education Research Consultant, New York City Board of Education
1971-1972 Course Director, Education Program, Intermedia Institute Inc., New York
1970-1971 Lecturer, Programme in Music, Faculty of Fine Arts, York University, Toronto
1969 Resident Composer, Summer Workshops in Contemporary Music, University of Illinois, Urbana
1968-1969 Guest Lecturer, Multi–Media Program, and Graduate School of Music Education, New York University
1965-1967 Performer, University of Illinois Contemporary Chamber Players, Urbana
1967-1968 Creative Associate, Rockefeller Fellow, Composer-Performer, Center for Creative and Performing Arts, State University of New York at Buffalo
Dissertation and Thesis Advisory Committees
San Jose State University
University of California at Los Angles (UCLA)
York University, Toronto
California Institute of the Arts
Professional Activities and Positions
Ongoing- Consultant and outside evaluator on programs and curriculum for various institutions, including University of California at Los Angeles, Cornish College of the Arts, Riverside School for the Arts, Simon Fraser University, Arizona State University, Indian Institute of Technology (Jodhpur), and others
Ongoing- Conductor/Guest Conductor for groups emphasizing contemporary music, recently including New Century Players (CalArts), Atlanta Chamber Players, Symphony of the Canyons (Santa Clarita), Idyllwild Arts Symphony Orchestra, and others
2015-2016 Guest Associate Editor, Frontiers in Neuroscience, sonification, perceptualizing biological information
2008-2011 Grant Panel, French American Cultural Exchange (FACE) Contemporary Music Program, Paris, France
2003 International Academy of Astronautics, Study Group 6.3 on Interstellar Message Construction, Paris, France
1993-1994 Consultant, California Arts Council, Governor's Conference on the Arts and Technology, San Francisco, CA
1990-1991 Board of Directors, 18th Annual Electronic Music Plus Festival, Mills College, Oakland, CA
1990-present Editorial Advisory Board, Leonardo Music Journal, International Society for the Arts, Sciences, and Technology (ISAST), San Francisco
1987-1990 Board of Affiliates, Good Sound Foundation, Woodside, CA
1985 Selection Committee, Society for Electro–acoustic Music in the United States (SEAMUS), affiliate of International Society for Contemporary Music (ISCM)
1985 Artistic Advisory Board, New Music Alliance, for New Music America '85, Los Angeles
1984-Reviewer for author submissions, Leonardo, International Society for Art, Sciences and Technology (ISAST), San Francisco
1983 Board of Directors, American Center for Electronic Music, Santa Fe, New Mexico
1981-1982 Consultant, Interactive Communication Systems, San Jose, California
1979-1980 Software Developer, Buchla and Associates, Berkeley, (electronic music instrument language development)
1978-present Director/Owner, David Rosenboom Publishing, Toronto, and Piedmont, Berkeley, and currently, Santa Clarita, California
1977-1978 Associate, Buchla and Associates, Berkeley, (electronic music instrument development)
1976-1978 Board of Directors and Co–Founder, Artists Research Collective, Berkeley, (non–profit research organization)
1976 Judge, Ann Arbor Film Festival, Ann Arbor, Michigan
1975-1979 Director of Record Production, A.R.C. Publications and Recordings, Toronto
1974 Co–editor, Journal of Experimental Aesthetics, A.R.C. Publications and Recordings, Vancouver
1972-1973 Affiliate Producer, David Lucas Associates Inc., New York, (recording studio, music and television productions)
1971 Consultant, Nippon–Gakki Co., Yamaha Division, New York
1971 National Advisory Committee Member on Science and the Arts, American Association for the Advancement of Science
1971-1979 Board of Directors, Aesthetic Research Center of Canada, Vancouver, (non–profit education–research organization)
1970 Consultant, Tonus Inc., ARP Instrument Division, Newton Highlands, Massachusetts
1970 Consultant and Featured Artist, Intermedia Institute Inc., New York
1970 Featured Artist, New York State Council on the Arts, Composer in Performance Series
1969-1975 Violist, Theater of Eternal Music, New York, directed by LaMonte Young
1969-1971 President and Co–Founder, Neurona Company, New York, an R&D firm for electronics in the arts
1969 Artistic Director, Electric Ear concert series and touring group in mixed media performance, New York
1968-1974 This period included a great deal of free–lance work composing, conducting, and producing music for many record companies, television and film companies, and commercial music houses in New York and Toronto, including the following: ABC, CBS, PBL, NET, Westinghouse Group "W", BBC, CBC, OECA, CTV, CITY TV, Global Television, Scientific American Films, Columbia, VOX, Prudential, RCA, Canadian ETV, Southam Videotel, Florient, Construction Safety Assoc., NCC, WCVB–TV, Colgate, Crawley Films, Pepsi Cola, Lucas–McFaul Assoc., Gnu Music, and many others.
1967-1968 Artistic Coordinator, Electric Circus, New York
1966 Conductor and Co–Music Director/Founder, Quincy Summer Symphony Orchestra, Quincy, Illinois
1995-1999 Technology Advisory Committee, Newhall School District, (Los Angeles County), Santa Clarita, CA
1994-2002 Member and President, Site Council, Placerita Junior High School, Santa Clarita, CA
1994-1999 Chairperson and Co–Founder, Wiley Canyon Educational Foundation, (technology programs for public schools), Santa Clarita, CA
1992-1993 President, Society to Advance Gifted Education (SAGE), (educational enrichment programs), Santa Clarita, CA
Academic Administrative and Leadership Activities
California Institute of the Arts
Dean, School of Music
Doctor of Musical Arts (DMA) Policy and Admissions Committees
Chair, Task Force on Institutional Image
Board Member, Center for New Performance
Co-Director, Center for Experiments in Art, Information and Technology
Co-chair, Deans' Council
Artistic Director, Spring Music Festival and Music Explorations Series
Long Range Planning Steering Committee
Strategic Planning Steering Committee
Program Committee, Integrated Media
Search Committees for President; Provost; Dean, School of Theatre; Director and Dean of Enrollment Services; Dean, School of Dance; Vice President and CFO; Vice President for Advancement; Director of Career Services; and many faculty positions
Curriculum Committee, School of Music and Institute
Interdisciplinary Committee, Institute
Executive Committee, School of Music
Financial Aid Committee, School of Music
Programming Committee, School of Music
Marketing Committee, School of Music
Producer for Music, Roy and Edna Disney CalArts Theatre
Initiative Committee on Curriculum, Strategic Planning, CalArts
Central Coordinating Committee, Strategic Planning, CalArts
Advisory Group on the Design of REDCAT, Roy and Edna Disney CalArts Theater
Major endowment projects, The Herb Alpert School of Music
Design and construction projects, architectural expansions of the School, the Institute and The Wild Beast Music Pavillion
Director/Conductor, CalArts New Century Players
Director, Contemporary Music Ensembles
Faculty Search Committees, Music Department and Communications Program
Committee on Curriculum Revisions, Music Department
Watson Fellowship Selection Committee
Director, Center for Contemporary Music
Academic Standing Committee
Educational Technology Research Committee
Faculty/Staff Search Committees (various college positions)
Technical Representative, Inter–University Consortium on Educational Computing (national program)
Chairman, Concert Committee, Music Department
Head, Music Department
Chairman, Task Force on Campus–wide Electronic Equipment Maintenance
Search Committee, Darius Milhaud Chair in Music
Strategic Planning Committees
Graduate Council and Graduate Program Evaluation Committee
Communication Program Committee
San Francisco Art Institute
Curriculum Development, Humanities and Interdisciplinary Divisions
Establishment and fundraising for Electronic Arts Program
Established Lab for Computers in the Arts
Chairman, Committee on Tenure and Promotion, Music Department
Committee on Graduate Studies, Music Department
Search Committee for the Chairman of the Music Department
Dean's Advisory Committee, Faculty of Fine Arts
Chairman, Curriculum Committee, Faculty of Fine Arts
Coordinator, Division of Interdisciplinary Studies, Faculty of Fine Arts
Presidential Advisory Committee on the Selection of a Dean of the Faculty of Fine Arts
Ad Hoc Committee on Grading Policy, Faculty of Fine Arts
Committee on Interdisciplinary Studies, Faculty of Fine Arts
Director, Electronic Media Studios, Department
Director, Contemporary Performance Ensembles, Music Department
Chairman, Curriculum Committee, Music Department
Faculty Council Member, Faculty of Science
Faculty Council Member, Faculty of Fine Arts
Committee on University Computing Services
Committee on Tenure and Promotion, Faculty of Fine Arts
Director, Laboratory for Experimental Aesthetics, affiliated with Aesthetic Research Centre of Canada
Intermedia Institute Inc., New York
Curriculum Design, Contemporary Media Courses
Electric Circus for New York University
Curriculum Design, Program on Computers in the Arts
Sponsored Research And Creative Projects
2013 The Aaron Copland Fund for Music, recording grant for Zones of Influence dual-CD project with Pogus Productions, (Chester, NY)
2008-2009 Transatlantic Arts Consortium, AH!, a new kind of opera, public presentation of results of A Counterpoint of Tolerance
2008 Transatlantic Arts Consortium, A Counterpoint of Tolerance, project in collective composition with international group of young composer-performers, 2-year project
2004 Duke-Surdna Fund for Interdisciplinary Projects, CalArts, Bell Solaris,Twelve Metamorphoses in Piano Theater, in collaboration with director, Travis Preston
2002 & 2004 George and Marylou Boone Fund for Artistic Advancement, Original composition and recording projects
1995 AT&T Foundation, Multiple, simultaneous, public performance projects linking geographically distributed sites with telecommunications technology, (renewal of 3–year grant begun in 1991) to Center for Experiments in Art, Information and Technology,California Institute of the Arts
1991 AT&T Foundation, Peter and Eileen Norton Family Foundation, and Yamaha Corporation of America, Inc., Applications of interactive software models in the performing arts and education and multiple, simultaneous, public performance projects linking geographically distributed sites with telecommunications technology; various projects carried out under major grants to Center for Experiments in Art, Information and Technology at California Institute of the Arts, including educational experiments with Open School, Center for Individualization, Los Angeles, and Crossroads Academy, Santa Monica; and telecommunications performance projects with Electronic Café International, Santa Monica; The Kitchen Center, New York; CERN (electronic music center), Nice, France; and others, 3–year project, co–principal developer, Morton Subotnick
1989 Mills College, Faculty Research Grant, continuation of Cognitive modeling and 20th–century composition, and Computer modeling of a composition tool kit in HMSL, Hierarchical Music Specification Language
1987 Mills College, Faculty Research Grant, Cognitive modeling and 20th–century composition
1985 Inter–University Consortium on Educational Computing, major grant for Development of software environment for experimental music, HMSL (Hierarchical Music Specification Language)
1985 Mills College, Course Development Grant, Preparation of materials for a new musicianship skills training program in the Music Department
1985 Mills College, Faculty Research Grant, Development of specialized hardware and software for the composition, Zones of Influence
1984 Mills College, Faculty Research Grant, Music copying costs for two compositions, In The Beginning I (Quartet) and In the Beginning III (Quintet)
1983 Irvine Foundation, participated in conception, formulation, and securing of major grant to Establish Electronic Arts Program and administrative computerization for the San Francisco Art Institute
1983 Mellon Foundation, Establishment of Artificial Intelligence/ Sound as Design Laboratory at the San Francisco Art Institute
1977 York University, Sabbatical Research Sponsorship, Development of and work with a new composing language for the manipulation of morphological shape structure in music, and Development of a new live–performance oriented, computer assisted, electronic music instrument (work carried out in collaboration with designer, Donald Buchla, Artists Research Collective, Berkeley)
1977 York University, Faculty of Fine Arts, Research Grant, A new computer language for composition and performance of electronic music
1976 York University, Faculty of Fine Arts, Research Grant, Development of a computerized performing instrument for musical interface with the human nervous system (continued)
1975 Canada Council, Explorations Program, Major Research Grant, Explorations in the artistic potential of new developments in bio–feedback and the relation of information processing modalities of the brain to aesthetic experience
1975 York University, Faculty of Fine Arts, Research Grant, Development of a computerized performing instrument for musical interface with the human nervous system
1974 York University, Faculty of Fine Arts, Research Grant, New music composition
1973 York University, Faculty of Fine Arts, Research Grant, New music composition
1971 National Science Foundation, Research Assistantship in project directed by Dr. Lloyd Kaufman, Evoked responses to visual illusions, Dept. of Experimental Psychology, New York University
Professional Associations (beginning dates)
1965 American Federations of Musicians (A.F. of M.)
1968 Association of Independent Composers and Performers
1968 Broadcast Music Inc. (BMI)
1969 Experiments in Art and Technology (EAT)
1970 American Association for the Advancement of Science (AAAS)
1973 College Music Society
1975 American Society of University Composers
1968 Sheldon Soffer Management, New York, (personal appearance bookings)
1974 Independent Curators Inc., Washington, D.C., (personal appearance bookings)
1978 Chez Hum–Boom Publishing (BMI), Toronto, Berkeley, Piedmont, Santa Clarita
1979 David Rosenboom Publishing (BMI), Toronto, Berkeley, Piedmont, Santa Clarita
1978 American Music Center
1980 New Langton Arts, San Francisco
1981 Composers' Forum
1985 New Music Alliance
1987 Good Sound Foundation, Board of Affiliates
1990 National Association of Schools of Music
1994 Electronic Music Foundation
2001 American Composers Forum, Los Angeles Chapter
Schools Attended (post secondary)
New York University, Composers' Workshop and Experimental Psychology (was advanced into Ph.D. program in Experimental Psychology by examinations in music and psychology, 1971)
University of Illinois, Urbana, Music Composition
Interlochen Center for the Arts, Music Composition
Extensive private studies in composition, performance, theory, conducting, computer science, psychology, neuroscience, physics, electronics, systems theory
Selected Major Teachers
Composition: Salvatore Martirano, Gordon Binkerd
Violin: Wayne Pyle, Melvin Ritter, Paul Roland, Homer Schmidt, Herman Berg
Piano: Soulima Stravinsky
Percussion: William Youhass, Jack McKenzie
Trumpet: Dale Kimpton
Conducting: Bernard Goodman, A. Clyde Roller, Eugene Ormandy
Additional Musical Studies: Kenneth Gaburo (systems theory), Lejaren Hiller (electronic and computer music), John Garvey, (chamber music, viola), Pandit Pran Nath (Indian music)
Experimental Psychology: Lloyd Kaufman, George Sperling, Edgar E. Coons, Les Fehmi
Honors And Awards
Theodore Presser Scholarship in Music
William A. Anderson Scholarship
University of Illinois Foundation Scholarship
Illinois State Honorary Scholarship
Edmund J. James Scholar, University of Illinois
Sigma Alpha Iota Music Scholarship
Quincy Foundation Scholarship
Interlochen Press Composition Prize
Honored Nominee, 1987 Professor of the Year program, The Council for Advancement and Support of Education
George A. Miller Professorship, University of Illinois
Darius Milhaud Chair, Mills College
Richard Seaver Distinguished Chair in Music, California Institute of the Arts
National Endowment for the Arts
Peggie Sampson, viola da gamba
Electric Stereopticon, music & multi–media
New Percussion Quartet
G. Alan O'Connor & William Youhass, percussionists
Lawrence Singer, oboist
State University of New York at Buffalo, Drama Department
New York State Council on the Arts
Electric Circus Foundation (New York)
Medtronic Archive, Museum of Electricity and Life (Minneapolis)
Ontario Arts Council (two commissions)
York Winds, woodwind quintet (Toronto)
Array, contemporary music ensemble (Toronto)
Toyoji Peter Tomita, trombonist
Arch Ensemble for Experimental Music and Conimicut Foundation (Berkeley)
William Winant, percussion
Ontario Science Centre
Danceart Company, McFarlane–Whistler
Shaklee Foundation through Mills College, major musical and theatrical work (Oakland)
Museum of Contemporary Art, Los Angeles with Pasadena Art Alliance (two interactive media installations)
Colburn School for Performing Arts
Katrina Krimsky, pianist
California E.A.R. Unit
Vicki Ray, pianist
Transatlantic Arts Consortium
(2014). Active imaginative listening—a neuromusical critique. Frontiers in Neuroscience, Auditory Cognitive Neuroscience, The Musical Brain, 8, 1-7, DOI=10.3389/fnins.2014.00251.
(2003). Propositional music from extended musical interface with the human nervous system. In Avanzini, G., Faienza, C., Lopez, L., Majno, M., and Minciacchi, D. (Eds.). The Neurosciences and Music, Volume 999 of the Annals of the New York Academy of Sciences, 1-9. (New York: NYAS).
(1997). Propositional music: on emergent properties in morphogenesis and the evolution of music; part II: imponderable forms and compositional methods. Leonardo Music Journal, 7, 35–39.
(1997). Propositional music: on emergent properties in morphogenesis and the evolution of music; part I: essays, propositions and commentaries. Leonardo, 30(4), 291–297.
(1995). Center for Experiments in Art Information and Technology (CEAIT ): studio report. With Coniglio, M. and Subotnick, M. In Proceedings Of The 1992 International Computer Music Conference. San Francisco: International Computer Music Association (ICMA).
(1992). Parsing real–time musical inputs and spontaneously generating musical forms: Hierarchical Form Generator (HFG). In Proceedings Of The 1992 International Computer Music Conference. San Francisco: International Computer Music Association (ICMA).
(1990). Extended musical interface with the human nervous system: assessment and prospectus. Leonardo Monograph Series, 1. (Berkeley, CA: International Society for the Arts, Sciences, and Technology). Revised version. (1997). (Cambridge, MA: The MIT Press, Electronic Journals, Leonardo Monograph Series, 1).
(1990). The performing brain. Computer Music Journal, 14(1), 48–66. [Includes accompanying sound sheet with two recorded excerpts from On Being Invisible with printed notes.]
(1988). Extended musical interface with the human nervous system: assessment and prospectus. (Abstract of speech given to First International Symposium On Electronic Art, Utrecht, Holland). Leonardo, Electronic Art Supplemental Issue, 121.
(1987). HMSL: overview (version 3.1) and notes on intelligent instrument design. With Polansky, L. and Burk, P. In Proceedings Of The 1987 International Computer Music Conference, (pp. 220–227). (San Francisco: International Computer Music Association (ICMA)).
(1986). Symposium on composition with computers. With Roads, C. (Ed.), Battier, M., Barlow, C., Bischoff, J., Brün, H., Chadabe, J., et. al. Computer Music Journal, 10(1), 40–63.
(1985). Studio report: recent developments at the Center for Contemporary Music 1981– Mills College. With Polansky, L. In Proceedings of the International Computer Music Conference 1985 (pp. 419–424). (San Francisco: International Computer Music Association (ICMA)).
(1985). HMSL (Hierarchical Music Specification Language) a real–time environment for formal, perceptual and compositional experimentation. With Polansky, L. In Proceedings of the International Computer Music Conference 1985 (pp. 243–250). (San Francisco: International Computer Music Association (ICMA)).
(1975). A model for detection and analysis of information processing modalities of the nervous system through an adaptive, interactive, computerized, electronic music instrument. In Proceedings of the Second Annual Music Computation Conference, Part 4, Information Processing Systems (pp. 54–78). (Urbana, IL: Office of Continuing Education in Music, University of Illinois).
(1972). Method of producing sounds or light flashes with alpha brain waves for artistic purposes. Leonardo 5(1). In Malina, F.J. (ed.). (1973). Kinetic Art (pp. 152–156). New York: Dover Pub. Japanese translation. (1974). Space Design, 10. (Tokyo: Kajima Institute Pub. Co.).
(1970). In support of a systems theoretical approach to art media. In Proceedings, 1970 (pp. 56–68). (New York: American Society Of University Composers/American Music Center).
Articles/Papers—Invited and/or Commissioned
(in press). Propositional Music of Many Nows. In collection of writings from Multimod—Composer-Performer Festival 2017. (Geneva, Switzerland: Haut École de Musique de Genève).
(2017). "2 + 2 = green" — Innovation in Experimental Music at the University of Illinois. In Hoxie, F. (Ed.) the University of Illinois: Engine of Innovation. (pp. 121-134). (Urbana-Champaign: University of Illinois Press).
(2015). Ringing Minds. With Mullen, T. and A. Khalil. Part of Mullin, T., et. al. MindMusic: Playful and Social Installations at the interface Between Music and the Brain. In Nijholt, A. (Ed.). More Playful User Interfaces. Interfaces that Invite Social and Physical Interaction. Series: Gaming Media and Social Effects. p. 221-229. ISBN 978-981-287-545-7, ISBN 978-981-287-546-4 (eBook). DOI: http://doi.dx.org/10.1007/978-981-287-546-4.
(2014). Brain-computer music interfacing (BCMI): one place where science and music may meet in deep theoretical territory. In Reck, E. R. and J. Castet. (Eds.). Guide to Brain-Computer Music Interfacing. (London: Springer-Verlag).
(2013). Fostering and supporting student creativity and innovation. In Proceedings, The 88th Annual Meeting 2012, 101. (pp. 43-54). (Reston, VA: National Association of Schools of Music).
(2012). A conversation about music between Iannis Xenakis and David Rosenboom. In Kanach, S. (Ed.). Xenakis Matters - Contexts, Processes, Applications. (Hillsdale, New York: Pendragon Press).
(2004). Lejaren Hiller: a true American musical experimentalist. Preface in Bohn, J. M. The Music of American Composer Lejaren Hiller and an Examination of His Early Works Involving Technology (pp. i-xix). (Lewiston, NY: Edwin Mellen Press).
(2003). Open to hearing: interstellar message composition as interspecies collaboration. (in press). In Vakoch, D. (ed.). Between Worlds, the Art and Science of Interstellar Message Composition. (Cambridge, MA: The MIT Press).
(2003). The imperative of co–creation in interstellar communication: lessons from experimental music. Leonardo Electronic Almanac, 11, 7. (Cambridge, MA: The MIT Press). [Online distribution.]
(2002). Pleasure has an opposite, or somewhere over whose rainbow? Leonardo Music Journal, 12, 73–78.
(2001). Propositional music and transformation in the new millennium–a chord is a verb, not a noun. New Music LA, January-February. (Los Angeles: American Composers Forum, Los Angeles Chapter).
(2001). Propositional music: on emergent properties in morphogenesis and the evolution of music; essays, propositions, commentaries, imponderable forms and compositional methods. In Zorn, J. (Ed.). Arcana: Musicians on Music (pp. 203–232). (New York: Hips Road and Granary Books).
(1996). Improvisation and composition–synthesis and integration into the music curriculum. In Proceedings, The 71st Annual Meeting, 1995 (pp. 19–31). (Reston, VA: National Association of Schools of Music).
(1996). B.C.–A.D. and Two Lines, two ways of making music while exploring instability, in tribute to Salvatore Martirano. Perspectives Of New Music, 34(1), 210–226.
(1992). Complex adaptive systems in music. (Abstract for invited presentation.) The Journal of the Acoustical society of America, 92(4)(2), 2403.
(1992). Interactive music with intelligent instruments–a new, "propositional music?". In Brooks, I. (Ed.). New Music Across America (pp. 66–70). (Valencia and Santa Monica, CA: California Institute of the Arts and High Performance Books).
(1991). Music composition, scoring a painting. In Sound & Images, Conference Report, Program For Art On Film (pp. 22–23). (New York: The Metropolitan Museum of Art and the J. Paul Getty Trust).
(1992). Music notation and the search for extra–terrestrial intelligence. In Scholz, C. (ed.). Frog Peak Anthology. (Hanover, NH: Frog Peak Music). Also in (1993) Leonardo, 6(4), 273–274.
(1990). HMSL (Hierarchical Music Specification Language): a theoretical overview. With Polansky, L. & Burk, P., lead authors. Perspectives Of New Music, 28(2), 136–178.
(1987). A tribute to James Tenney. In Polansky, L. and Rosenboom, D. (Guest eds. for special issue). Perspectives Of New Music, 25(1 & 2), 434–591.
(1987). Maple Sugar and James Tenney. Perspectives Of New Music, 25(1 & 2 ), 562–563.
(1987). Frames for future music (six composition lessons). Leonardo, 20(4), 363–365.
(1987). A program for the development of performance oriented electronic music instrumentation in the coming decades: 'what you conceive is what you get'. Perspectives Of New Music, 25(1&2), 569–583.
(1987). Cognitive modeling and musical composition in the Twentieth–Century: a prolegomenon. Perspectives Of New Music, 25(1&2), 439–446.
(1987). Barry Truax: Sequence of Earlier Heaven. (A review). Computer Music Journal, 11(2), 71–72.
(1985). FOIL–85 and Meta–FOIL source listings. (Santa Clarita, CA: David Rosenboom Publishing).
(1984). On being invisible. Musicworks, 28, 10–13. (Toronto: Music Gallery).
(1983). FOIL–83 source listings. (Santa Clarita, CA: David Rosenboom Publishing).
(1982). Towards a language for self–directed learning by computer facilitated interaction with large visual knowledge bases. [Online distribution: http://music.calarts.edu/~david/writings/articles.html ]
(1982). Artificial intelligence and art education. [Online distribution: http://music.calarts.edu/~david/writings/articles.html ]
(1980). FOIL source listings. (Berkeley, CA: Buchla and Associates).
(1980). User's guide to playing Touché and programming with FOIL. (Berkeley, CA: Buchla and Associates).
(1980). Programmer's notes on FOIL (Far Out Instrument Language). (Berkeley, CA: Buchla and Associates).
(1977), On Being Invisible: I. The qualities of change II. On being invisible (1978), III. Steps towards transitional topologies of musical form (1982). (1984). Musicworks, 28, 10-13. (Toronto: Music Gallery).
(1977). Maple Sugar. With Humbert, J. (Description of performance art project). In Parallelogram Retrospective 1976 1977 (pp. 138–139). (Montreal: Association of Non–Profit Artists' Centers).
(1977). Churchman and Valenstein: a critical review. [Online distribution: http://music.calarts.edu/~david/writings/articles.html ]
(1976). Prolegomenon to extended musical interface with the human nervous system: an outline mandala of electro–cortical forms observable through point consciousness. In Byron, M. (ed.). Pieces: A Second Anthology (pp. 105–114). (Toronto: Michael Byron Pub.). Also, (1984). Musicworks, 28. (Toronto: Music Gallery).
(1973). Rosenblueth and Halacy: a joint review. Book review. Leonardo, 6, 267–268.
(1973). Vancouver piece. (Description of biofeedback installation piece). In Grayson, J. (ed.). Sound Sculpture (pp. 128–131). (Vancouver: Aesthetic Research Centre of Canada Publications).
(1973). Three day biofeedback learning experience for Brown University. (Japanese translation). Transonic, 3. (Tokyo: Zen–On Music Co.).
(1971). Notes on Morton Subotnick's 'Laminations' and William Bergsma's 'Violin Concerto'. Record liner notes. (New York: VOX Records).
(1970). ...The future of art and power. for the last several million years.... The Composer, I(4). (Redondo Beach, CA: Composers Autograph Publications).
(1968). Saturation in multi–media. The Continuum, I(3). (Urbana, IL: Association of Independent Composers and Performers.)
(1968). Program notes for an Electric Ear Concert: Hiller, Reynolds, Subotnick, Martin, & Martirano. (New York: Electric Circus).
(1968). Electric Circus analogous. (New York: Electric Circus).
(2003). Collapsing distinctions: interacting within fields of intelligence on interstellar scales and parallel musical models. (2003). (Santa Clarita, CA: David Rosenboom Publishing). [Online distribution: http://www.davidrosenboom.com ]
(1990). Extended musical interface with the human nervous system: assessment and prospectus. Leonardo Monograph Series, 1. (Berkeley, CA: International Society for the Arts, Sciences, and Technology). Revised version. (1997). (Cambridge, MA: The MIT Press, Electronic Journals, Leonardo Monograph Series, 1). [Available online at MIT Press/Leonardo].
(1987). Collected scores 1965–1973. (Hanover, NH: Frog Peak Music). [Scores for twelve musical works.]
(1987). Music for keyboard instruments and improvisation groups, 1964–1981. (Hanover, NH: Frog Peak Music) [Scores for ten musical works.]
(1987). In the beginning, a collection of works, 1978–1981. (1987). Santa Clarita, CA: David Rosenboom Publishing. (Hanover, NH: Frog Peak Music). [Scores and documentation for nine musical works.]
(1984). Collected articles (1968–1982). (Hanover, NH: Frog Peak Music).
(1978). The J. Jasmine songbook. With Humbert, J. (Ed.) & Manupelli, G. (1978). (Hanover, NH: Frog Peak Music). [A set of piano–vocal scores.]
(1975). Biofeedback and the arts: results of early experiments, (Ed.). (Vancouver: Aesthetic Research Centre of Canada; and Hanover, NH: Frog Peak Music).
Selected Interviews of David Rosenboom
Bellen, M. (2009). Interview of David Rosenboom. [Online: http://www.martinebellen.com ]
Gluck, B. (2008 in press). Interview with David Rosenboom for book on The Electric Circus and the 1960s downtown New York contemporary music scene.
Soltes, E. (2006). Interview with David Rosenboom. In Oral History of American Music. (New Haven, CT: Yale University).
Beckwith, S. (2003). David Rosenboom. In York, the founding generation, 1970–2000, 69–78. (Toronto: Department of Music, Faculty of Fine Arts, York University).
Paul, D. (1986). Interview with David Rosenboom. Performing Arts Journal, 29, 12–16.
Polansky, L. (1983). Interview with David Rosenboom. Computer Music Journal, 7(4), 40–44. Also in OP Independent Music Magazine, U, 49–51. (1984). (Olympia, WA: Lost Music Network). Also in Roads, C. (Ed.). The music machine, selected readings from the Computer Music Journal, 45–49. (1989). (Cambridge, MA: The MIT Press).
Plush, V. (1983). Interview with David Rosenboom. In Oral History of American Music. (New Haven, CT: Yale University).
Siddal, J & Timar, A. (1982). In conversation: David Rosenboom and Richard Teitelbaum. Musicworks, 21, 12–14. (Toronto: Music Gallery).
Soltes, E. (1982, March). David Rosenboom: an emerging electronic aesthetic. City Arts Monthly, San Francisco, 17.
Millar, H. (1980). Rosenboom brings electronic flair to music. The Mills Stream, October 2. (Oakland, CA: Mills College).
Davis, B. (1978). David Rosenboom: recent cybernetic insights. Synapse (Los Angeles), 18–19, 42.
Zimmermann, W. (1976). In Desert plants: conversations with 23 American musicians, 83–192. (Cologne and Vancouver: Beginner Press and Aesthetic Research Centre of Canada Publications).
Dewar, S. (1972). Biofeedback opens the door to man's internal life. (1972, November 11). The Globe and Mail, (Toronto), November 11, 1972.
Collier, B.L. (1971). Brain power, the case for bio–feedback training. (1971, April 10). Saturday Review, April 10, 1972.
Henahan, D. (1970). Music draws strains direct from brains. The New York Times, November 20, 1970.
Henehan, D. (1969). Multimedia's mother of them all. (Interview with Robert Ashley, Salvatore Martirano & David Rosenboom for article about Thais Lathem. The New York Times, April 13, 1969.
Putnam, T. (1968). Composer stresses naming works. (1968, March 3). Buffalo Courier–Express, March 3, 1968.
Brady, K. (1968). Composing long–hair folk rock–music in a world of symbols. Buffalo Evening News, March 1, 1968.
Recordings of Original Compositions
(2017). Lucha's Quinceañera Song and Hades. On Hopscotch. (Los Angeles: The Industry) [Digital media USB key].
(2015). Naked Curvature (a whispered opera). (New York: Tzadik) [CD].
(2014). Zones of Influence, five movements for percussion soloist and computer music system. (Chester, NY: Pogus Productions). [2-CD set].
(2013). Daytime Viewing. (With Jacqueline Humbert). (Re-mastered for digital). (New York: Unseen Worlds). [CD].
(2012). In the Beginning (eight compositions). (New York: New World Records). [2-CD set].
(2012). Life Field, retrospective selections 1964-2004. (New York: Tzadik) [CD].
(2012). Hymn of Change, (arrangement for string quartet by A. Tholl). In Cold Blue Two. (Los Angeles: Cold Blue Music). [CD].
(2012). Roundup Two, Selected music with electro-acoustic landscapes (1968-1995). (Japan: Art Into Life). [2-CD set].
(2010). J. Jasmine . . . My New Music, (with bonus track, Oasis in the Air). (With Jacqueline Humbert). (Seoul, Korea: Big Pink Music). [CD].
(2009). How Much Better If Plymouth Rock Had Landed On The Pilgrims. (New York: New World Records). [2-CD set].
(2008). Predictions, Confirmations & Disconfirmations. On Experimental Music Studios (1958-2008). (Urbana-Champaign, IL: University of Illinois School of Music). [4-CD set].
(2007). Future Travel & And Out Come the Night Ears, (New York: New World Records). [CD].
(2006). Brainwave Music & Four Lines (Tokyo: EM Records). [CD, 1054].
(2006). On Being Invisible (Excerpt). Computer Music Journal, 30,4 [CD accompanying journal].
(2005). Zones of Coherence & Music for Unstable Circuits (+Drums+Trumpet) on, Rosenboom, Daniel. Bloodier, Mean Son. (Los Angeles: Nine Winds Records). [CD].
(2004). And Come Up Dripping. In Van Cleve, Libby, Oboe Unbound. (Lanham, MD: Scarecrow Press). [CD contained in book.]
(2004). Suitable for Framing & Suitable Bonus. (With J.B. Floyd and Trichy Sankaran). (New York: Mutable Music). [CD].
(2004). Chanteuse, Songs of a Different Sort. (with Jacqueline Humbert). (New York: Lovely Music Ltd.). [CD].
(2000). Invisible Gold. (Chester, NY: Pogus Productions). [CD].
(2000). Music from—On Being Invisible II (Hypatia Speaks fo Jefferson in a Dream). On Austin, L. & Trayle, M. (producers). Transmigration Music. (Baton Rouge, LA: Centaur Records, Inc., Consortium to Distribute Computer Music, 30). [CD].
(1999). Challenge. (With Anthony Braxton and William Winant). On Bidi, Bidi, Bidi, Bananafish, 13, (San Francisco: Tedium House Publications). [CD accompanying periodical].
(1992). Two Lines/David Rosenboom/Anthony Braxton. (New York: Lovely Music, Ltd.0. [CD].
(1993). Extended Trio: Sampler. (With Charlie Haden and Trichy Sankaran). On Parsons, J, (producer). Hallways, Eleven Musicians and HMSL. (Hanover, NH: Frog Peak Music). [CD].
(1991). A Precipice in Time. On Austin, L. (producer). The Virtuoso in the Computer Age. (Baton Rouge, LA: Centaur Records, Inc., Consortium to Distribute Computer Music, 10). [CD].
(1990). On Being Invisible (Excerpt). Computer Music Journal, 14,1. [Sound sheet accompanying journal].
(1990). Study for 'ZONES'. In Musicworks, 28. [Cassette accompanying periodical]. Also on one.source, HMSL. (Hanover, NH: Frog Peak Music). [Cassette].
(1989). Systems of Judgment. (Baton Rouge, LA:,Centaur Records, Consortium to Distribute Computer Music , 4). [CD].
(1987). Roundup: A Live Electro-acoustic Retrospective (1968-1984). ('s-Hertogenbosch, The Netherlands: Slowscan Editions, 7). [Cassette].
(1986). In The Beginning: Etude I (Trombones). On Rosenboom, D. (ed.): Music From Mills. (Oakland, CA: Mills College and Hanover, NH: Frog Peak Music). [3-record anthology].
(1983). On Being Invisible (Excerpt). On, Musicworks Cassette #28. (Cassette accompanying periodical).
(1983). Music of J.B. Floyd and David Rosenboom. (Miami, FL: National Public Radio, Miami).
(1983, 1988 second edition). Daytime Viewing. (With Jacquelin Humbert). (Santa Clarita, CA: Chez Hum-Boom Publishing) [Cassette].
(1982). Future Travel. (Detroit, MI: Street Records). [LP record].
(1981). In The Beginning: Etude II (keyboard-mallets-harps). On Soltes, E. (producer). Contemporary Keyboard Music. (Albany, CA: National Public Radio.)
(1977). J. Jasmine . . . My New Music. (With Jacqueline Humbert). (Ann Arbor, MI: Ann Arbor Film Festival). [LP record].
(1978). Rosenboom and Buchla: Collaboration in Performance, contains, And Out Come the Night Ears and How Much Better if Plymouth Rock Had Landed On the Pilgrims, Section V, (Berkeley, CA: 1750 Arch Records). [LP record].
(1977). The Seduction of Sapientia, On Sampson, P. The Contemporary Viola da Gamba. (Toronto: Music Gallery Editions). [LP record].
(1977). On Being Invisible. (Toronto: Music Gallery Editions). [LP record].
(1976). Keyboard Encounter for Two Unacquainted Pianists. With McDermed, C., Buchla, D. (organizer). (Los Gatos, CA: Ocean Records, Composers Cassettes, 1). [Cassette].
(1976). Brainwave Music. Toronto: Aesthetic Research Centre of Canada, A.R.C. Records). [LP record].
(1976). Continental Divide (Rosenboom, D.) and Chilean Drought (Rosenboom, D. & Humbert, J.). (With NEXUS). (Toronto: Canadian Broadcasting Corporation).
(1975). Light. With Clarke, T., Floyd, J.B., Homme, R., Moses, K., & Pennecook, B. (Toronto: Canadian Broadcasting Corporation).
(1975). Suitable for Framing: Forms of Freedom for Two Pianos and Mrdangam. (With J.B. Floyd and Trichy Sankaran). (Toronto: Aesthetic Research Centre of Canada, A.R.C. Records). [LP record].
(1972). And Come Up Dripping. In Wilson, H.R., et. al. Growing With Music, 8 (Englewood Cliffs, NJ: Prentice-Hall, Triton Records). (LP record included with book].
As Perform or Producer of Works by Others
(2005). (Percussion). With McFaul, T., Newton, L.D., Stanley, R. & Stuhler, B. THINK DOG - Dog Days. (Germany: Shadoks). (LP record and CD].
(2003). (Percussion). With McFaul, T., Newton, L.D. & Stanley, R. Before There Was Time. (Germany: Shadoks). [LP record and CD].
(2004). (Producer, performer, arranger, electronic landscapes). Chanteuse, Songs of a Different Sort. (Works by Ashley, R., Ashley, S., La Barbara, J., Humbert, J., Manupelli, G., Tenney, J., Polansky, L., Krimsky, K., Lucier, A., Matamoros, G., & Rosenboom, D.). (New York: Loveley Music Ltd.). [CD].
(2000). (Conductor, pianist). (Works by Byron, M.). Music of Nights Without Moon or Pearl. (Venice, CA: Cold Blue). [CD]
(2000). (Conductor). (Work by LeBaron, A.). Telluris Theoria Sacra. On Sacred Theory of the Earth. (New York: Composers Recordings, Inc.). [CD].
(1999). (Conductor), (Work by Smith, W. L.). Nur: Luminous, Light Upon Light. On Light Upon Light. (New York: Tzadik). [CD].
(1992). (Co-producer with Ashley R. of Ashley work). Improvement (Don Leaves Linda). (New York: Elektra Nonesuch). [CD].
(1991). (Pianist and interactive computer instruments). (Work by Braxton, A.). Composition No. 107. On Austin, L. (producer). The Virtuoso in the Computer Age. (Baton Rouge, LA: Centaur Records, Inc., Consortium to Distribute Computer Music, 10). [CD].
(1988). (Pianist), The Anthony Braxton Quartet, "...if my memory serves me right". (Wuppertal, Germany: West Wind, Bellaphon Records, ITM-Records). [CD].
(1987). (Pianist). (Work by Byron, M.). Starfields. (New York: TELLUS Cassettes, 4). (143 Ludlow St., Suite 14, NYC, 10002), New York, 1987.
(1987). (Pianist), Anthony Braxton Five Compositions (Quartet). (Milan, Italy: Black Saint IREC). [CD].
(1986). (Pianist, producer, editor). (3-record anthology of 21 composers). Music From Mills. (Oakland, CA: Mills College).
(1984). (Producer, recording engineer). (Work by Byron, M.). Marimbas in the Dorian Mode. (Los Angeles: Cold Blue Records). (LP record)
(1982). (Electronic arrangement). (Work by Elbel, L.). The Victors. (Birmingham, MI: Streetside Records). [45 rpm single record].
(1982). (Pianist). (Work by Byron, M.). Entrances. On Tidal: Michael Byron. (New York: Neutral Records). (LP record, N5].
(1982). (Producer, engineer). (Recording to accompany book). Sankaran, T. The Art of Drumming: Mrdangam. (Toronto: York University).
(1978). (Violin, viola). (Work by Bekaert, J.). Summer Music. (New York: Lovely Music, Ltd.). (LP record).
(1977). (Percussion, electronics, engineer). (Works by Hassell, J.). Vernal Equinox. (New York: Lovely Music, Ltd.). [LP and CD].
(1975). (Violin, synthesizer). (Works by Kaufman, M.). Solar Explorations. (Toronto: GRT Records) [LP record].
(1975). (Producer, performer, engineer). The Sounds of Sound Sculpture. (Toronto: Aesthetic Research Centre of Canada, A.R.C. Records). [LP record].
(1968). (Violist). (Work by Riley, T.). In C. (New York: Columbia CBS Records). [LP record and CD].
(1967 & 1987). (Violinist). (Work by Hiller, L. & Isaacson, L.). Illiac Suite. On Computer Music from the University of Illinois. (New York: MGM-Heliodore). Re-released as Quartet No. 4 for Strings 'Illiac Suite' (1957). On Lejaren Hiller: Computer Music Retrospective. (Mainz, Germany: Wergo). [CD].
(1964). (Violinist). (Works by Williams, V. & Taylor, D.) Van Cliburn Conducts. (New York: RCA Victor). [LP record].
Distributed Computer Music Software
HMSL (Hierarchical Music Specification Language). Co–developed with Phil Burk and Larry Polansky, an object–oriented software environment for music composition, performance, and experimentation, developed in the early 1980's at the Center for Contemporary Music at Mills College and continuing independently into the 1990's, version up to 4.21 were created; now available from Frog Peak Music, Hanover, NH.
MetaFOIL, MetaHMSL, and FOIL–83. Further languages for the Touché developed to facilitate algorithmic composition, intelligent instrument performance, and interface with other instrument and sensors; MetaHMSL was a precursor to the later development of the widely used HMSL described below; David Rosenboom Publishing, Piedmont and Santa Clarita, CA, 1979 to 1983.
FOIL (Far Out Instrument Language). Instrument definition and performance language for the Touché computer music instrument, an early keyboard instrument with digital tone generation and interactive performance software, developed at Buchla and Associates, Berkeley, CA, 1979.
Undistributed Computer Music Software
OBI II. Tools for data acquisition, brain signal analysis, and detection of event related potentials (ERP's) with links to HFG software described above and the HMSL/DSP digital synthesis tools created by Phil Burk, developed in the mid–1990's.
HFG (Hierarchical Form Generator). Interactive language for improvisation based on a partial model of perception used to parse musical inputs and re–map them onto a performing input device along with parametric shape transformation routines, written in HMSL, developed in the early 1990's.
HMSL Compositions. A large library of software tools for various compositions and algorithmic music projects written in HMSL, 1980's through 1990's.
OBI I. Software tools for brain signal analysis and self–organizing musical form generation written in the mid–1970's for Interdata mini–computers with interfaces to data acquisition equipment, signal correlation function and Fourier analysis equipment, and Buchla 300 Electronic Music System, created to enable the composition, On Being Invisible.
Algorithmic Composition Toolkit in BASIC. Written in the 1970's for Interdata mini–computers.
Composition software. Software specific to various compositions and research projects written for various IBM and Digital Equipment Corporation computers from the late 1960's to mid–1970's.
Works With Scores Available
Note: publishers for many of these works include: (Hanover, NH: Frog Peak Music), (London: Boosey & Hawks), (New York: Seesaw Music Corp.), (Sacramento, CA: Composer/Performer Edition), (Toronto: Aesthetic Research Centre of Canada), (Tokyo: Zen-On Music Co.), (Berkeley, CA: Other Music), (Santa Clarita, CA: David Rosenboom Publishing), and various music journals and periodicals.
Unverifiable Intuitions (2015) solo piano
The Experiment (2015) (from Hopscotch mobile opera for 24 cars) baritone voice, tenor voice, electronics-software performer, 4 brainwave active imaginative listening performers
Hades (2015) (from Hopscotch mobile opera for 24 cars) 4 principal voices: soprano, 2 baritones, bass; vocal trio: 2 sopranos, mezzo-soprano; 3 trumpets, 3 percussion
Lucha's Quinceañera Song (from Hopscotch mobile opera for 24 cars) solo voice, piano/keyboard (may be arranged; arrangement for Mexican instruments has been made by Jerónimo "Jxel" Rajchenberg)
The Accidental Lion (2014) solo piano
AH! (2009) opera with writer, Martine Bellen, for instruments, singers, actors, dancer, live-performance video, interactive media, Internet, and multi-national/multi-cultural/multi-lingual collaborating composer-performer group, A Counterpoint of Tolerance; see website: http://www.ah-opera.org/
Kicking Little Shadows (2007) solo piano
Kicking Shadows (2007) solo piano with improvisational components, may be arranged
Tango Secretum (2006) for solo piano, may be arranged
Twilight Language (2004) solo piano
Zones of Coherence (2003) solo or multiple trumpets
On the Seduction of Sapientia (2003) various realizations for stringed instruments, including solo violin, solo viola, solo cello, and violin duet, in process
Shiftless Drifters (2002) duet for glissando instruments
Naked Curvature (Four Memories of the Daimon) (2001) whispered chamber opera for instrumental sextet (flute/piccolo, clarinet/bass clarinet, violin, cello, piano/Midi keyboard, and percussion/Midi mallet instrument), whispering voices, sound effects and interactive computer software
Four Lines (2001) multiples of four instruments, various combinations
Attunement (1999) multiple voices (minimum 6) and freely realized harmonies
Mood–When the Ground Screams from Seeing the Small in the Large (1998–99) chamber orchestra
Seeing the Small in the Large, (Six Movements for Orchestra) (1998–99)
Bell Solaris (Twelve Movements for Piano) Transformations of a Theme (1997–98)
Two Lines (1989) two or more instruments
Champ Vital (Life Field) (1987) violin, piano and percussion
Keyboard Study for ‘ZONES’ (1984) computer assisted keyboard instrument
Zones of Influence (1983–5) for percussion soloist with computer assisted electronic music system, auxiliary keyboard and melodic instrument parts
Daytime Viewing (1979–82) with Jacqueline Humbert, performance art theater with song stories, narration, fashion show, video, computer graphics, costumes, and sets
Palazzo from Future Travel (1981) variable instrumentation
In the Beginning V (The Story) (1980) chamber orchestra, film or video projection and three speaking parts
In the Beginning: Etude III (Piano and Two Oranges) (1980)
In the Beginning: Etude II (Keyboards - Plucked Strings) (1980) two, four, six, or eight players
In the Beginning IV (Electronic) (1980) for computer–assisted electronic music system;
In the Beginning: Etude I (Trombones) (1979) for any number of trombones
In the Beginning III (Quintet) (1979) woodwind quintet
In the Beginning II (Song of Endless Light + Sextet) (1979) violas and/or cellos, trombone and percussion
In the Beginning I (Electronic) (1978) for computer–assisted electronic music system
Lightmotifs (1980) motifs and patterns for improvisation groups
Study for On Being Invisible (1978) for brainwave performer and computer music system
Androgyny, Broke and Blue, Wild About the Lady, Strong Arms, Grand Canyon Heartache, Clear Light, Younger Lady, Oasis in the Air (1976–8) with Jacqueline Humbert, eight songs for voice and piano with optional subsidiary parts
The Seduction of Sapientia (1973–4) viola da gamba and electronics
Chilean Drought (1974) with Jacqueline Humbert, for speaking and chanting voices, brainwave performer, piano and optional percussion
Is Art Is (1974) variable ensembles with keyboard parts, bass lines, rhythms, chords and melody lines
Portable Gold and Philosophers’ Stones (music from brains in fours) (1972) brainwave performers and electronics
Patterns for London (1972) keyboards and variable ensembles
Portable Gold and Philosophers’ Stones (music with trills) (1972) brainwave performers and electronics
Piano Etude I (1971) two pianos or one piano with delay system
How Much Better if Plymouth Rock Had Landed on the Pilgrims (1969–72) various sections with gradual process melodic, rhythmic, and harmonic materials for creatively constituted variable ensembles
And Come Up Dripping (1968) oboe soloist and electronics
She Loves Me, She Loves Me Not, . . . (1968) a ritualistic theater piece, four–channels of recorded electronic, spoken text, a ceremonial light distribution system, projections, two musician–mimes, sound feedback system, piano, and percussionists
mississippippississm (1968) setting of poem by Emmett Williams for 32 players who speak and play clavés, with recorded sound environment and conductor
Then We Wound Through An Aura of Golden Yellow Gauze (1967) flute, trombone, electric guitar, percussion, and piano/electric harpsichord, two actresses
To That Predestined Dancing Place (1967) percussion quartet
A Precipice In Time (1966) two percussionists, with a doubled trio of piano–celeste, alto saxophone, and cello parts, four–channel sound rotator
Chart Pieces (1966) graphic scores for any large or small instrumental group
Caliban Upon Setebos (after Robert Browning) (1966) chamber orchestra
Trio (1966) clarinet, trumpet, and contrabass
Pocket Pieces (1966) flute, alto saxophone, viola, and percussion
Untitled Little Piano Piece (1965)
Dances (1965) jazz or improvisation ensemble
Sextet (1965) string quartet, flute, and bassoon
Movement for Two Pianos (1965)
Prelude and Dance Fantastique (1965) symphonic band,
Continental Divide (1964) cyclical gradual process music for variable ensembles, also chamber orchestra version (2001)
Twelve Stories High (1964) jazz band
Six Pieces for Piano (1964)
Septet (1964) trumpet, French horn, trombone, violin(s), viola(s), cello(s), piano
Contrasts for Violin and Orchestra (1963)
Works Developed Through Interactive Computer Or Electronic Systems Performance Practice
Portable Gold and Philosophers' Stones (Deviant Resonances) (2015) 2 brainwave active imaginative listening performers
Ringing Minds (2014) with Tim Mullen and Alexander Khalil, 4 brainwave active imaginative listening performers; brain hyperscanning, POP, and ERP analysis; computer electronics, violin, lithoharp, and visualization video projection
Swarming Intelligence Carnival (2013), live electronics for collaborative spectacle with dance, video and music with Sardono W. Kusumo, Otto Sidharta and Dwiki Darmawan
Rain Coloring Forest (2010) live electronics for choreography by Sardono W. Kusumo, lighting by Jennifer Tipton, and animation by Maureen Selwood
Music for the Play, Ubu Roi (1968) live electronics
Two Pieces for Analog Computer: Music for Unstable Circuits (1968) electronics
Music for Unstable Circuits (+Drums) (1968–1984) electronics
On Being Invisible (1976–1977) self–organizing musical form for soloist with computer assisted brain signal analysis
Future Travel (1981) seven pieces realized with computer assisted instruments, piano, violin, percussion, and electronically processed speech; some
Systems of Judgment (1987) computer assisted synthesis and processing systems, environmental recordings, keyboards, violin, auxiliary sound objects and sampled sounds
Layagnanam (1990) with Trichy Sankaran, South Indian mrdangam and computer music system
Predictions, Confirmations, and Disconfirmations (1991) for soloist with MIDI keyboard or pitch follower, HFG (Hierarchical Form Generator) computer software, and automatically responding instruments
Extended Trio (1992), with Charlie Haden and Trichy Sankaran, two Yamaha Disklavier pianos, pitch follower and event triggers, HFG (Hierarchical Form Generator) computer software, and three computer music systems
Lineage, Enactment, Transfiguration and Transference (1992) with Anthony Braxton, MIDI grand piano, responding piano controlled by computer, with sopranino, soprano, and alto saxophones, clarinet, and flute and HFG (Hierarchical Form Generator) software
On Being Invisible II (Hypatia Speaks to Jefferson in a Dream) (1994–95) self–organizing, interactive multi–media chamber opera, non-linear narrative for two performers with computer music systems capable of measuring auditory event–related potentials (ERPs) from their brains, two improvising musicians, narrator, computer performer(s), computer–controlled laser disk video projection, slide projections, pre–recorded voices, OBI software written in HMSL (Hierarchical Music Specification Language), and real–time digital synthesis system
Hunter/Hunted (2005) eight singers and interactive computer music system
Imaginary Wave Fields (2005) solo violin and electronic resonators
Works Developed Through Improvisation Practice
Epilogue (1978) solo piano
And Out Come the Night Ears (1977–8) solo piano interfaced with Buchla 300 Series Electronic Box
Keyboard Encounter for Two Pianos and Two Unacquainted Players (1976)
19IV75 (1975) with J.B. Floyd, two pianos
Performance Art Works
À La Surface / On Surface (2006) with Geneviève Sabaté-Verseau, Jean De Loisy, and Fabien Rigobert, texts, music and images for performance/installation
Throughout: The Coordinated Effect of Attraction and Repetition on Uncoordinated Presence (1978) with George Manupelli and Jacqueline Humbert, performance art ensemble
Thaddeus Cahill, Deceased (or Drums Mark the End) (1977) with G. Manupelli, J. Humbert, M. Moulton, W. Winant, J. Tenney, A. Holloway, M. Byron, and C. Arnoldin, performance art ensemble
There Are Sixteen Hours in a Day, Four Days in a Week, Two Weeks in a Month, Seven Months in a Year, The Rest of the Time is Spent Listening and in Contemplation of Fire (1977) with George Manupelli, performance art with electronic music and theater
Rain, A Lament for the Peoples of Chile (1976) with George Manupelli, performance art ensemble with electronic music
The Naked Truth (1976) with George Manupelli & Michael Byron, performance art ensemble
Electrovoice (1967) one performer, electrodynamic speaker, 110 volts AC
The Brandy of the Damned (1967) solo theater piece with electronic tape
To Whom It May Concern (1967) with William Youhass, any number of players, narrator, conductor, electronic tape
Works Composed For Recording Media
Brave New World (Music for the Play) (1995) computer music system
Study for ‘ZONES’ (1984) computer controlled MIDI synthesizer ensemble
Musical Intervention 1982 electronic processing based on Internationale
Musical Intervention 1979 electronic process based on Himno National de Chile
Music for the Movie: ‘Almost Crying’ (1978) Buchla 300 Electronic Music System, piano, violins, and trumpets, for the film by George Manupelli
Mass (1973) ARP 2500 synthesizer, with Robert Fisher, Diane Roblin, and Martin Backler for choreography by Robert Cohan
Music for the Film: ‘Olympic Gymnastics’ (1975) ARP 2500 synthesizer, documentary for Canadian television
Music for the Film: ‘Computer Art’ (1971) ARP 2500 synthesizer, for film by Les Mezei
Music for the Movie: ‘Red–Yellow–Blue’ (1971) for film by Stuart Murphy, trumpet, tape delay, Hammond B3 organ, violin, bass, drums, and ARP 2600 synthesizer
Body Music (1969) electronic sounds presented with slides
Two Short Electronic Organ Pieces (1969) Vox electronic organ and Neurona Omnivoila voltage controlled frequency dividers
City Mix (1968) analog computer synthesis
Four Soundings from URBOUI: 1. Pére Facts 2. The Fats of Life 3. Meu–sic 4. Earie (1968) material recorded during live electronic music performances with Alfred Jarry’s play, Ubu Roi
Telluspeep (1967–1968) analog synthesis and tape collage
Music for the Movie, I’ll Be Damned (1966–1977) orchestra and electronics tape collage
Internals (1966) analog synthesis and tape manipulation
Collective Composition—some collaborators with whom significant repertoire was developed in goup improvisation practice
Challenge (1986– ) with Anthony Braxton and William Winant
The Anthony Braxton Quartet (1986) with Anthony Braxton, Gerry Hemmingway, and Mark Dresser
It’s Only Worth Being Strapped In During Take–Off and Landing (1984) duo with William Winant, percussionist
Maple Sugar (1975–79) performance art ensemble with Jacqueline Humbert, Mary Moulton, George Manupelli, Michael Byron, Francis Leeming, William Winant, Ann Holloway, James Tenney, Harvey Chao, Jean Moncrieff, and others; performance art collective
Trio II (1977–78) with Michael Byron and William Winant
Trio I (1975–76) with Richard Teitelbaum and Michael Byron
David Rosenboom and J.B. Floyd (1974– ) two piano duo
It Takes a Year One Earth To Go Around the Sun (1969–70) with Gerald Shapiro; cyclical gradual process music and audience interactive pieces with electronic music
Light II (1973–74) with J.B. Floyd, Terry Clarke, Rick Homme, Kathy Moses, and Bruce Pennecook; cross–stylistic improvisation utilizing composed starting points
Light I (1972) with Jon Hassell, J.B. Floyd, Terry Clarke, and Rick Homme; cross–stylistic improvisation utilizing composed starting points
B.C.–A.D. (1969–95) with Salvatore Martirano; live electronic music with custom–made systems
The Persian Surgery Orchestra (1969) with Terry Riley (director), Jon Hassell, and Ed Burnham
The Electric Ear (1968–69) with Anthony Martin and Morton Subotnick; multimedia and music
Time and Think Dog! (1967–68) with Richard Stanley, Thos. G. McFaul, and Lynn Newton; extended notions of rock–‘n–roll and new music
A sampling of texts by other authors in which Rosenboom’s work appears.
Thompson, Dave. (2013). June 1st 1974, Kevin Ayers, John Cale, Nico, Eno, Mike Oldfield and Robert Wyatt: The Greatest Supergroup of the Seventies. (UK: Dave Thompson).
Levine Packer, R. (2010). This life of sounds. (New York: Oxford University Press, Inc.).
Pickering, A. (2010). The cybernetic brain: sketches of another future. (Chicago: University of Chicago Press, Inc.).
Austin, Larry, Douglas Kahn and Nilendra Gurusinghe (eds.). (2011). Source: Music of the Avant-garde, 1966-1973. (Berkeley, CA: University of California Press).
Carl, R. (2009). Terry Riley's In C. (New York: Oxford University Press, Inc.).
Dean, Roger T. (2009). The Oxford Handbook of Computer Music (Oxford Handbooks in Music). (Oxford, UK and New York: Oxford University Press).
Sauer, T. (2008). Notations 21, an anthology of innovative musical notation. (New York: Mark Batty Publisher).
Collins, Nick and Julio d’Escrivan. (2007). The Cambridge Companion to Electronic Music (Cambridge Companions to Music). (Cambridge, UK and New York: Cambridge University Press).
Emerson, Simon. (2007). Living Electronic Music. (Hampshire, UK and Burlington, VT: Ashgate Publishing Company).
Duckworth, William. (2005). Virtual Music: How the Web Got wired for Sound. (Oxon, UK and New York: Routledge).
Schraenen, Guy. (2005). Vinyl, Records and Covers by Artists. (Bremen: Neuen Museum Weserburg Bremen and Barcelona: Museu d’Art Contemporani de Barcelona). (Includes Music From Mills album produced by Rosenboom with cover by Jasper Johns.)
Van Cleve, L. (2004). Oboe Unbound. (Lanham, MD: Scarecrow Press). (Also contains CD with And Come Up Dripping, new realization of 1969 composition.)
Wilson, Stephen. (2003). Information Arts: Intersections of Art, Science, and Technology. (Cambridge, MA: The MIT Press).
Watson, Ben and W.C. Bamberger (Ed.). (1985-2002). Honestly Is Explosive!: Selected Music Journalism. (Rockville, MD: Wildside Press).
Cope, David: (2001). New Directions in Music, Second Edition. (Prospect Heights, IL: Waveland Press, Inc.).
Rowe, Robert. (2001). Machine Musicianship. (Cambridge, MA: The MIT Press).
Strange, P. & Strange, A. (2001). The contemporary violin. (Berkeley, CA: University of California Press).
Cseres, J. (2001). Hudobné simulacrá. (Bratislava, Slovakia: Vydalo Hudobné Centrum, Music Centre Slovakia).
McCarty, Clifford. (2000). Film Composers in America. (Oxford, UK and New York, Oxford University Press).
Potter, Keith. (2000). Four Musical Minimalists: La Monte Young, Terry Riley, Steve reich, Philip Glass (Music in the twentieth Century). (Cambridge, UK: Cambridge University Press).
Zorn, J. (ed.). (2000). Arcana, musicians on music. (New York: Granary Books/Hips Road).
Ruschkowski, A. (1998). Elektronische Klänge und musikalische Entdeckungen. (Stuttgart, Germany: Philipp Reclam jun. GmbH & Co.)
Nyman, Michael. (1999 edition). Experimental Music: Cage and Beyond (Music in the twentieth Century). Forward by Brian Eno. (Cambridge, UK and New York: Cambridge University Press).
Dean, Roger and Hazel Smith. (1997). Improvisation Hypermedia and the Arts since 1945 (Performing Arts Studies). (Amsterdam, The Netherlands: Harwood Academic Publishers).
Gann, K. (1997). American music in the Twentieth Century. (New York: Schirmer Books).
Chadabe, J. (1996). Electric Sound: the past and promise of electronic music. (New York: Prentice Hall).
Harris, C. (ed.). (1993). The Leonardo almanac, international resources in art, science, and technology. (Cambridge, MA: The MIT Press).
Radano, Ronald M. (1993). New Musical Figurations: Anthony Braxton’s Cultural Critique. (Chicago: University of Chicago Press).
Montaque, Gary. (1991). Live Electronics (Contemporary Music Review, Vol 6, Part 1 Book and Tape). (Amsterdam, The Netherlands: Harwood Academic Publishers). In article by Barry Schrader, Live/electro-acoustic music – a perspective from history and California.
Schrader, B. (1991). Live/electro–acoustic music – a perspective from history and California. Contemporary Music Review, 6,1. (Reading, UK: Harwood Academic Publishers).
Roads, C. (Ed.). (1989). The music machine, selected readings from the Computer Music Journal. (Cambridge, MA: The MIT Press).
Mathews, M.V. & Pierce, J.R. (Eds.). (1989) Current directions in computer music research. (Cambridge, MA: The MIT Press).
Davis, D.S. (1988). Computer applications in music, a bibliography. The computer music and digital audio series, 4. (Madison, WI: A–R Editions, Inc.).
Schaefer, J. (1987). New sounds, a listener's guide to new music. (New York: Harper & Row, Pub.).
Boom, M. (1987). Music through MIDI. (Redmond, WA: Microsoft Press).
Strange, A. (1983). Electronic music. Second edition. (Dubuque, IA: W.C. Brown Pub.).
Peterson, D. (1983). Genesis II: creation and recreation with computers. (Reston, VA: Reston Publishing Co.).
Pellegrino, R. (1983). Electronic arts of sound and light. (New York: Van Nostrand Reinhold).
Lucier, A. (1980). Chambers. (Middletown, CT: Wesleyan University Press).
McKay, A. (1979). Electronic music. (Oxford: Phaidon).
Encyclopedia of music in Canada. (1978). (Ottawa; National Library).
Cope, D. (1977). New music composition. (New York: Schirmer Books).
Anderson, R. (1976 & 1982). Contemporary American composers: a biographical dictionary. (Boston: G.K. Hall & Co.).
Reynolds, R. (1975). Mind models, new forms of musical experience. (New York: Praeger).
Grayson, J. (1975). Sound sculpture. (Vancouver: Aesthetic Research Centre of Canada).
Appleton, J.H. & Perera, R.C. (1975). The development and practice of electronic music. (Englewood Cliffs, NJ: Prentice–Hall Inc.).
Nyman, M. (1974). Experimental music: Cage and beyond. (1974). (London: Cassell & Collier MacMillan Pub.).
Malina, F. (1974). Kinetic art: theory and practice. (1974). (New York: Dover).
Buchla, D., (1974). Entry on electronic music in Whole Earth epilogue. (Sausalito, CA: Point).
Trythall, G. (1973). Principles and practice of electronic music. (New York: Grosset & Dunlop Pub.).
Ferguson, M. (1973). The brain revolution. (New York: Taplinger Pub.).
Wilson, H.R., et. al. (1972). Growing with music, vol. 8. (Englewood Cliffs, NJ: Prentice–Hall, Inc.).
Lincoln, H.B. (1972). Advances in computers. (New York: Academic Press).
Lawrence, J. (1972). Alpha brainwaves. (New York: Avon Books).
Karlins, M. & Andrews, L.M. (1972). Biofeedback: turing on the power of your mind. (New York: J.B. Lippincott Pub., Warner Books.)
Slonimsky, N. (from 1972 revised edition on). Bakers biographical dictionary of musicians. (New York: G. Schrimer, Inc.).
Cope, D. (1971 and several subsequent editions). New directions in music. (Dubuque, IA: Wm. C. Brown Pub.)
Vinton, J. (ed.). (1971 and subsequent editions). Dictionary of contemporary music. (New York: E.P. Dutton & Co., Inc.).
Hunter, R. (1971). The Storming of the mind: inside the consciousness revolution. (Garden City, NY: Doubleday & Co. Inc.).
Grayson, J. (1971). Re–Search, vol. 4. (Duncan, B.C.: Center for Gestalt Learning).
Who's who. Rosenboom biographies appear in several international dictionaries and anthologies.
Groves Dictionary of Music and Musicians. Oxford, UK: Oxford University Press.
And many others…
Examples of Sponsors of Major Presentations
Festival of the Arts Today (Buffalo)
Contemporary Arts Festival (Univ. of Ill.)
World Youth Symphony (Interlochen, MI)
Springfield Symphony (IL)
University of Illinois Symphony
Watergate Barge (Washington)
American University (Washington)
New York University
Central Pennsylvania Festival of the Arts Today
University of Louisiana (Baton Rouge)
Crane School of Music (Potsdam, NY)
Northern Illinois University (Dekalb, IL)
Queen's University (Ontario)
York University (Toronto)
University of Toronto
California Institute of the Arts
Mills College Department of Music, Center for Contemporary Music, Littlefield Concert Hall (Oakland)
And/Or Gallery (Seattle)
Portland Center for the Visual Arts
Alice Tully Hall
Carnegie Recital Hall
Kitchen Center (New York)
1750 Arch Street (Berkeley)
Dia Art Foundation (New York)
Automation House (New York)
Buffalo State University
State University of N.Y. at Buffalo
International Carnival of Experimental Sound (London)
American Embassies (London, Cologne, Paris)
American Cultural Center (Paris)
Maeght Foundation Festival (St. Paul de Vence, France)
University of Bourges (France)
University of Ghent (Belgium)
Palais De Beaux Arts (Brussels)
Univ Alfa Jazz Festival (Belgium)
Musik Hochschüle (Hamburg)
Heiner Friedrich Gallery (Cologne, Munich)
International Summer Olympics (Munich, Kingston/Montreal)
Electric Ear Series, Electric Circus (New York)
Audio Engineering Society (New York, Los Angeles)
American Association for Computing Machinery (Atlantic City)
I.E.E.E. (San Francisco)
1750 Arch Ensemble (San Francisco, Oakland)
International Festival of Weasels (Berkeley, CA)
Simon Fraser University (Vancouver)
Western Front Society (Vancouver)
Music Gallery (Toronto)
University of California at San Diego
Interlochen Center for the Arts (Michigan)
York University Performing Arts Series (Toronto)
Commonwealth University (Richmond, Va)
University of Virginia
West German Television
California State University at Long Beach
Gestalt Institute of Canada
American Film Institute
Conference On the Future of the Arts (with Arthur C. Clark, Northern Illinois University)
American Federation of Information Processing Societies
American Society of University Composers Conference (Dartmouth College)
University of Victoria (Canada)
San Jose State University
George Peabody Teachers' College (Nashville)
Southern Illinois University
Illinois State Normal University
Brown University (Providence)
State University of N.Y. at Stony Brook
New Music Concerts (Toronto)
Merce Cunningham Dance Company (New York)
CBC Radio And Television
Illinois Wesleyan University (Bloomington)
University of Glasgow (Scotland)
San Francisco Conservatory of Music
Agnes Eterington Art Center (Kingston, Ontario)
Ann Arbor Film Festival (Michigan)
St. Lawrence Hall (Toronto)
University of Mexico (Mexico City)
College of Mexico (Mexico City)
Musée Des Beaux Arts (Montreal)
Art Gallery of Ontario (Toronto)
New Music Circle (St. Louis)
San Francisco Art Institute
80 Langton St. (San Francisco)
New Performance Gallery (San Francisco)
New Music America '81 (San Francisco)
Kunsthalle (Basel, Switzerland)
Omeg–Alfa Jazz Club (Belgium)
International Festival of Electronic Music, Video And Computer Art (Brussels)
Plan K (Brussels)
Lewis And Clark College (Portland)
New Music Concerts (Santa Cruz)
Axiom-Axiom (San Francisco)
M.U.S.I.C. (San Francisco)
Intersection Arts Center (San Francisco)
Ontario Science Center (Toronto)
University of Miami
Rue Dunois (Paris)
Center for Music Experiment at UCSD (La Jolla, CA)
Stella Polaris Gallery (Los Angeles)
De Saisset Museum, USC (Santa Clara, CA))
New Music America '85 (Los Angeles)
Simon Fraser University (Vancouver)
International Computer Music Conferences (Urbana, San Diego, New York, Rochester,
Paris, Vancouver, Miami)
New Music America (Houston, Montreal, Los Angeles, San Francisco)
Museum of Modern Art (San Francisco)
Exploratorium (San Francisco)
Grace Cathedral (San Francisco)
North Sea Jazz Festival (Den Hague)
Riverside Jazz Club (Antwerpen)
Circle Jazz Club (Hamburg)
Castello Sforzesco ("Jazz A Milano")
Quartier Latin (Berlin)
Haus Der Kultur Theater (Bolzano, Italy)
Festival of New American Music, California State University (Sacramento)
June Watanabe Dance Company (Oakland)
Bay Area Dance Series (Oakland)
Laney College Theatre (Oakland)
International Conference On Information Technology
Asilomar Conference Center (Monterey)
Betty Freeman Musicale, The Music Room (Los Angeles)
Banff Centre School of Fine Arts (Alberta, Canada)
Los Angeles County Museum of Art, Leo S. Bing Theater and Monday Evening Concerts
Macfarland/Whistler Danceart Company (San Francisco)
Victoria College for the Arts (Melbourne, Australia)
New Performance Gallery (San Francisco)
Jazz In the City, Grace Cathedral (San Francisco)
Speaking of Music, Exploratorium (San Francisco)
Eye Music (UK)
Arts Council of Great Britain
Mappin Art Gallery (Sheffield, UK)
Serpentine Gallery (Ondon, UK)
Ferens Art Gallery (Hull, UK)
Huddersfield Art Gallery (UK)
Hatton Gallery (Newcastle, UK)
Museum of Modern Art (San Francisco)
Diverse Works (Houston)
Wahlberg Recital Hall, Fresno State University
Alice Theater (Oakland)
Green Room, War Memorial Building (San Francisco)
University of Utah (Salt Lake City)
Apple Computer Inc.
First International Symposium On Electronic Art (Utrecht)
DNC Exhibition Space (New York)
Wesleyan University Center for the Arts
Interpretations Series, Merkin Concert Hall, New York
Nippon Kan Theater, Soundwork Northwest (Seattle)
Society for Jazz and World Music (Santa Barbara)
New Music America '90 (Montreal)
Los Angeles Philharmonic
Under the Green Umbrella, (L.A. Philharmonic New Music Concerts)
Japan America Theater, (Los Angeles)
Acoustical Society of America (New Orleans)
Spring Music Festival, CalArts (Los Angeles)
Musical Explorations Series, CalArts (Los Angeles)
Scream Festival, California State University at Northridge (Los Angeles)
South Bay Chamber Music Society (Los Angeles)
Santa Barbara Day of Music
Composer–To–Composer (Telluride, CO)
Krannert Center, University of Illinois
Governor's Conference On the Arts And Technology (California)
Electronic Café (Santa Monica)
California Institute of Technology (Pasadena)
Art Institute of Chicago
Atlanta Chamber Players, Georgia State University Recital Hall
Zipper Hall at the Colburn School of Performing Arts (Los Angeles)
Museum of Contemporary Art (Los Angeles)
International Society for Electronic Arts (Utrecht and Chicago)
Harvestworks Digital Media Arts (New York)
XTET (Los Angeles)
Ensemble Green (Los Angeles)
Occidental College (Los Angeles)
South Bay Chamber Music Society (Los Angeles)
Museum of Contemporary Art (Chicago)
Dorothy Chandler Pavilion (Los Angeles)
College of the Canyons (Santa Clarita, CA)
Symphony of the Canyons (Santa Clarita, CA)
Biofeedback Society of California
American Festival of Microtonal Music (New York)
Orchestra da Camera, Colburn School of Performing Arts (Los Angeles)
Idyllwild Arts Symphony Orchestra (Idyllwild, CA)
Resistance Fluctuations, New and Unpredictable Music, Wire (Los Angeles)
Pusan International Computer Music Festival, Kyung Sung University (Korea)
Engine 27, Electronic Music Foundation (New York)
Lotus Fine Arts (New York)
Getty Center (Los Angeles)
World Festival of Sacred Music (Los Angeles)
Venice Conservatory of Music "Benedetto Marcello" (Venice, Italy)
REDCAT, Roy and Edna Disney CalArts Theatre (Los Angeles)
Sounds Like Now, La Mamma Theater (New York)
Bienal Internacional de Música Electroacoústica, Universidad Nacional Autónoma de México (Mexico City)
University of York (York, England)
Royal Scottish Academy of Music and Drama (Glasgow)
Werner-Otto-Saal, Konzerhaus (Berlin)
Blackheath Halls (London)
Central Conservatory of Music (Beijing, China)
Dartington Hall, Dartington International Summer School (UK)
Walt Disney Concert Hall (Los Angeles)
International Indonesian Arts Festivals, Institut Seni Indonesia (Denpasar, Bali) and Institut Kenesian (Jakarta Java)
Ballhaus Naunynstraße Berlin
Comédie de Caen, Centre Dramatique National de Normandie (Caen, France)
Le Laboratoire (Paris, France)
Palacky University (Czech Republic)
Janáčkova Akademie Múzických Umĕní v Brnĕ (Czech Republic)
Yamaha Artists Salon (New York)
Center for Advanced Musical Studies at Chosen Vale (Enfield, New Hampshire)
La Mama Theater (New York)
Centre National de Danse Contemporaine (Angers, France)
PACT Zollverein, Ruhr Triennale (Essen, Germany)
Disney Family Museum (San Francisco)
College Art Association (100th Annual Conference, Los Angeles)
Hexagram, Matralab, Concordia University (Montreal, Canada)
World Culture Forum, GWK Cultural Park, The Lotus Pond (Denpasar, Bali, Indonesia)
The Scripps Research Institute & Schwartz Center for Computational Neuroscience, University of California at San Diego
University of California at Santa Barbara
Center for New Music (San Francisco)
The Whitney Museum of American Art (New York)
The House, Plymouth University (Plymouth, UK)
Centre Pompidou-Metz (France)
Whitechapel Gallery (London)
Tokyo Opera City, Recital Hall (Japan)
Open Day Minimalism(s) Festival, Onasis Cultural Center, Athens (Greece)
Los Angeles Computer Music Hangout
Haut École de Musique de Genève, Festival Multimod Performer-Composer (Geneva, Switzerland)
Fleet Science Center IMAX, San Diego, AMT (art music technology) Festival
And many others…