Works

"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."

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.

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.

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.

A philosophical and theoretical perspective on BCMI published as the Forward to the book: Miranda, E. R. and J. Castet (Eds.). (2014). Guide to Brain-Computer Music Interfacing. (London: Spinger Verlag).

[PDF AVAILABLE FOR DOWNLOAD] Article extracted from a presentation by the author and published online in: Proceedings, The 88th Annual Meeting 2012, National Association of Schools of Music, Number 101, May 2013, 43-54, (Reston, VA).

Edited transcription of a conversation recorded on video that took place at Mills College in 1983, published in the book, Xenakis matters. Sharon Kanach (ed.). (Hillsdale, New York: Pendragon Press), xxx-xli.

[PDF AVAILABLE FOR DOWNLOAD] David Rosenboom's address to the students of California Institute of the Arts at their graduation on May 20, 2011, while Rosenboom was serving as Co-Acting President of CalArts.

Interview by Martine Bellen concentrating on the creation of AH! opera no-opera, online: http://www.martinebellen.com/

[PDF AVAILABLE FOR DOWNLOAD] A statement about music education written for the groundbreaking ceremony of The Wild Beast music pavilion at California Institute of the Arts and published in the magazine, CalArts, Spring/Summer 2008.

Interview by E. Soltes (video and transcription) for Oral History of American Music. New Haven, CT: Yale University.

Preface in Bohn, J. M. The music of American composer Lejaren Hiller and an examination of his early works involving technology. (Lewiston, NY: Edwin Mellen Press), i-xix.

[PDF AVAILABLE FOR DOWNLOAD] An extensive monograph exploring what experimental music can teach us about recognizing and communicating with forms of intelligence other than our own, including examples from several decades of the author's work and with implications for the future of interactive processes and media.

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