A chapter about the extraordinary history of experimental music at the University of Illinois in the mid-20th Century, written for the book The University of Illinois: Engine of Innovation, edited by Frederick E. Hoxie, University of Illinois Press, 2017.
"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."
Lucha's Quinceañera Song and Hades, two David Rosenboom compositions written for Hopscotch (a mobile opera for 24 cars), have been recorded and released on Hopscotch from The Industry Records. (See also entries for these pieces under Works-Compositions-Works with Scores on this website.)
[PDF OF SCORE AVAILABLE FOR DOWNLOAD] Unverifiable Intuitions is a solo for a creative pianist. It was originally written for contemporary music pianist Satoko Inoue to premiere at Tokyo Opera City Recital Hall on 6 March 2016.
Keywords: brain–computer music interface, wearable EEG, physiological
computing, affective computing, music cognition, digital music instruments, interactive media installation, virtual reality, experimental music, neurogaming
Reference: In A. Nijholt (Ed.). More Playful User Interfaces. Interfaces that Invite Social and Physical Interaction. Series: Gaming Media and Social Effects. ISBN 978-981-287-545-7, ISBN 978-981-287-546-4 (eBook), 2015, XII, 247 p. 112 illus., 106 illus. in color, May 2015. DOI: http://doi.dx.org/10.1007/978-981-287-546-4.
A chamber opera/concerto grosso for six instrumentalists, whispering voices, electronics and interactive computer software (HMSL & SuperCollider) performed by a virtuosic CalArts Chamber Ensemble on a CD from Tzadik (TZ 4009, New York, 2015).
[PDF OF SCORE AVAILABLE FOR DOWNLOAD] Lucha's Quinceañera Song, music by David Rosenboom and text by Janine Salinas Schoenberg, was written for the "mobile opera for 24 cars," Hopscotch, produced in Los Angeles in 2015 by The Industry, conceived and directed by Yuval Sharon. Lucha's Quinceañera Song served as Chapter 4 in Hopscotch. A solo voice and piano/keyboard score is provided. For Hopscotch an arrangement was made by Jerónimo (Jxel) Rajchenberg using Mexican stringed instruments. That version has been recorded and released on Hopscotch from The Industry Records.
[PDF OF PROGRAM NOTES AVAILABLE FOR DOWNLOAD] Portable Gold and Philosophers' Stones (Deviant Resonances) is a work for two brainwave performers in which the acts of performance focus on active imaginative listening. In this work listening is elevated to the level of performative practice along with techniques for brainwave biofeedback in live musical contexts. Computer music and brainwave monitoring and analysis systems, along with a MIDI keyboard or Yamaha Disklavier piano and employed by a third performer.
[PDFs OF SCORE AND PARTS AVAILABLE FOR DOWNLOAD] Hades, music by David Rosenboom and text by Erin Young, was written for the "mobile opera for 24 cars," Hopscotch, produced in Los Angeles in 2015 by The Industry, conceived and directed by Yuval Sharon. Hades served as Chapter 26 in Hopscotch. The score calls for four principal singers—soprano, two baritones, and bass—, a "River Voice" trio—two sopranos (one high/coloratura) and mezzo-soprano—, three trumpets, and three percussion. Hades has been recorded and released on Hopscotch from The Industry Records.
[PDF OF SCORE AVAILABLE FOR DOWNLOAD] The Experiment, music by David Rosenboom and text by Erin Young, was written for the "mobile opera for 24 cars," Hopscotch, produced in Los Angeles in 2015 by The Industry, conceived and directed by Yuval Sharon. Hades served as Chapter 20 in Hopscotch. The score calls for: one baritenor voice, one tenor voice, one actor, one electronics-software performer, and four brainwave performers—these were audience members in Hopscotch 2015—who wear EEG monitoring devices and perform as active imaginative listeners. Additional possibilities employing more live performers in creative concert versions are noted in the score. Performance software for the piece has been created by the composer using the Reaktor DSP program and Muse-I/O with MUSE™ brainwave monitoring headbands. This software also includes pre-recorded sound samples and tracks. It is also possible to re-create all of these components to suite the needs of new performance initiatives.
David Rosenboom, composition and electronics; William Winant, percussion
Zones of Influence is a propositional cosmology activated in music. This release of his Zones of Influence (1984-85) documents for the first time the complete version of a major composition for percussion and computer/electronics that introduced new virtuoso performance techniques along with significant developments in real-time algorithmic composition and advanced interactive linking of percussion instruments with software. Few solo percussion works exist with the scope of this composition. Though the work has been performed extensively, it was never been fully recorded for public release until this double-CD with accompanying booklet containing an article about the work and its history was released by Pogus Productions, (#CD 21074-2, Chester, NY). Zones of Influence was written for William Winant in 1984-1985.
[SCORE AVAILABLE FOR DOWNLOAD.] The Accidental Lion is a solo piano piece originally written for contemporary pianist Vicki Ray. Though first premiered as part of her "exquisite corpse" project of piano music, it is intended to stand alone as a solo piano piece.
Keywords: propositional music, music neuroscience, self-organizing musical forms, neuromusic, brainwave music, brain music interface, music, composition, music performance, music improvisation, biofeedback
Reference: Rosenboom, D. (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.