Leonardo, 30, 4, 291–297.
"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."
Leonardo Music Journal, 7, 35–39.
Perspectives Of New Music, Volume 34, No. 1, (Winter, 1996), 210–226.
[PDF AVAILABLE FOR DOWNLOAD] In Proceedings, The 71st Annual Meeting, 1995 (Reston, VA: National Association of Schools of Music), 19–31.
In Proceedings Of The 1992 International Computer Music Conference. (San Francisco: International Computer Music Association - ICMA).
Computer music system, made for a production directed by Robert Benedetti in the Walt Disney Modular Theatre at California Institute of the Arts, recorded in the composer’s studio.
Self–organizing, interactive multi–media chamber opera 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.
In collaboration with Mark Coniglio and Stephen L. Mosko, interactive computer media installation in the form of a kiosk providing information in visual and sonic displays about contemporary music; users are guided through an exploration of indeterminate compositional processes resulting in personalized musical assemblages for each participant.
Interactive computer–controlled–piano installation in which the performance interpretations by several pianists of Erik Satie's Vexations are made to morph into and out of each other continuously or according to user selections.
Two legendary composer/performers join forces on this recording to unite composition with improvisation, "new music" with "new jazz." Starting from Rosenboom's notated score for TWO LINES and his HFG (Hierarchical Form Generator) musical computer program, these musicians have achieved a composition that is immediately heard. Duets with interactive HMSL (Hierarchical Music Specification Language) software. Includes Rosenboom's TWO LINES, plus compositions in collaboration with Braxton: LINEAGE, ENACTMENT, TRANSFIGURATION and TRANSFERENCE. Instrumentation: midi Grand Piano, HFG software, responding sampled piano David Rosenboom, sopranino, soprano and alto saxophones, clarinet and flute Anthony Braxton. Lovely Music, Ltd., New York, #LCD 3071, [CD]
With Trichy Sankaran, South Indian mrdangam, Charlie Haden, bass, and David Rosenboom, two Yamaha Disklavier Pianos and computer system; on Parsons, J. (Producer), Hallways, Eleven Musicians and HMSL, Frog Peak Music, Hanover, NH, #FP002, 1993, [CD]
Developed in collaboration with Anthony Braxton, duets for MIDI grand piano, responding piano controlled by computer, with sopranino, soprano, and alto saxophones, clarinet, and flute; each piece is guided by particular interactive structures and musical shape transformation vocabularies implemented with HFG (Hierarchical Form Generator) software.