Research

Propositional Music

For several years, Rosenboom has been working towards publishing a book on his compositional and theoretical work, to which he refers with the term "propositional music." Emphasizing emergent properties in morphogenesis and the evolution of music, he discusses related areas of music, science and philosophy that have influenced both the aesthetic and technical methods he has developed over many decades. Detailed explications of compositional methods used in many of his musical works are included. An article that can be thought of as a kind of prolegomenon to this larger project was published as Chapter 18 in the book, Zorn, J. (ed.), Arcana, musicians on music, 2000, [New York: Granary Books/Hips Road]. See: http://www.tzadik.com

EEG and Music — New Projects

Rosenboom is currently exploring ways to relate the dimensional complexity of large-scale cortical function and the EEG to musical perception and the complexity of music stimuli. New biofeedback paradigms for musical creation may emerge from this and inform compositions presently being envisioned. Concurrently, new developments in sensor technology and biofeedback paradigms for mobile devices are also being investigated.

HFG Two (Hierarchical Form Generator Two)

A project to create new, expanded and more advanced versions of some of the software projects Rosenboom undertook in the 1980s and 1990s with HMSL (Hierarchical Music Specification Language), emphasizing live performance applications of models of perception that drive algorithmic responses to unpredictable musical inputs and systems for the emergence of musical form, are underway in The Herb Alpert School of Music at California Institute of the Arts.

Touché Two

A digital simulation with significantly expanded functions of the legendary computer-music instrument created in 1979 by Donald Buchla and David Rosenboom, called the Touché, has been completed and is now being used in a new recording of Rosenboom's major work from the mid-1980s for percussion and computer music system, Zones of Influence. This recording will also include some vintage electronics and is expected to be released on a CD set from Pogus Productions when completed. The Touché Two was designed and programmed in Reaktor Core by Martijn Zwartes and David Rosenboom.

The Imperative of Co­Creation in Interstellar Communication: Lessons from Experimental Music

A presentation was given in 2003 to a distinguished group of scientists, artists, and scholars of the humanities attending a workshop held in Paris on the design, interpretation, and transmission of interstellar signals, Encoding Altruism: The Art and Science of Interstellar Message Composition, sponsored by The SETI Institute; Leonardo Observatory for the Arts and TechnoSciences; The John Templeton Foundation; The International Society for the Arts, Sciences and Technology (ISAST); and The International Academy of Astronautics (IAA) Permanent SETI Study Group. An abstract from the presentation has been publihsed as: The imperative of co–creation in interstellar communication: lessons from experimental music. (2003). Leonardo Electronic Almanac, 11, 7. Cambridge, MA: The MIT Press. [Online distribution: http://www.leoalmanac.org/wp-content/uploads/2012/07/LEA-v11-n7.pdf ]. Rosenboom also served on the workshop programming committee. Subsequently, Rosenboom self-published a monograph inspired by this meeting, Collapsing Distinctions: Interacting within Fields of Intelligence on Interstellar Scales and Parallel Musical Models, available on this website at: http://www.davidrosenboom.com/media/collapsing-distinctions-interacting-...

Propositional Music from Extended Musical Interface with the Human Nervous System

A presentation given in 2002 to an international conference in Venice, Italy, The Neurosciences and Music: Mutual Interactions and Implications on Developmental Functions, sponsored by the Mariani Foundation and Venice International University with co­sponsorship from New York Academy of Sciences, European Society for the Cognitive Sciences of Music, 7th International Conference on Music Perceptiona & Cognition (Australia), and International Society for Music in Medicine. A paper with the same title, summarizing the presentation has been published 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].

The Sal-Mar Construction Revived

This legendary electronic music construction built by Salvatore Martirano and his engineering collaborators in the 1970s at the University of Illinois has recently been brought back to life by engineer, Greg Danner. On April 1, 2004, as part of his residency at the University of Illinois, Urbana-Champaign, and a conference, New Directions in the Study of Musical Improvisation, David Rosenboom, who worked closely with Martirano in the 1960s and early 1970s and continued to collaborate with him in various contexts occasionally over the next 25 years, gave a talk about the instrument and its significance followed by a concert performance. This was the first time the instrument had been played in many years. The event was video taped. Video clips have been posted at these YouTube links:
http://www.youtube.com/watch?v=v1vkotuORWE
http://www.youtube.com/watch?v=5AVKyT47I5o&feature=relmfu
http://www.youtube.com/watch?v=SLTsnJQVyBs&feature=relmfu
http://www.youtube.com/watch?v=hgtHAANSMM4&feature=relmfu
http://www.youtube.com/watch?v=wPfVnwba0iE&feature=relmfu
Two photos on right show Rosenboom working on the restoration of the SalMar Construction.