"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."

Live electronics with analog computer synthesis.

A collection of live electronic music synthesis, made with analog computers and chaotic, unstable circuits built and/or invented by Rosenboom to explore ideas about instability,

Setting of the poem by Emmett Williams for 32 players who both speak and play clavés, optional recorded sound environment, and conductor.

A ritualistic theater piece involving four–channels of recorded electronic sound made with analog computer synthesis, spoken text, a ceremonial light distribution system originally realized with fiber optics and light source controllers responding to sound amplitudes, two slide projectors, one overhead projector, two musician–mimes each using two Superball mallets with contact microphones attached and a piano with lid removed, sound from the contact mikes fed back to speaker(s) placed under the piano, several percussionists with an array of instruments specified by type and arranged so as to outline a percussion village, and a Witch Doctor figure who’s part is displayed on the overhead projector.

For oboe soloist and electronics originally realized with analog computer signal processing and multi–channel tape delay system; alternative versions have been realized by means of digital signal processing with computer software, and an alternative version has been made for vocal soloist and electronics.

Analog computer synthesis.

With William Youhass, any number of players, narrator, conductor, electronic tape; absurdist music performance collage with continuous endings.

In three movements for percussion quartet with theatrical elements.

Solo improvisational theater piece with electronic tape.

A 36-inch diameter circular score with constellations of graphics figures and a transparent overlay that can be rotated giving road maps for various ways to traverse the configuration space of symbols; instructions and dictionaries for interpreting the symbols have been written for flute, trombone, electric guitar, percussion, and piano/electric harpsichord; other versions can be constructed for different ensembles; texts in several sections for two actresses, accompanied by rules for traveling through the symbols corresponding to each section, are included; alternative versions with or without the texts may be arranged. Reduced-size score with instructions is included in the book, Collected Scores, (Hanover, NH: Frog Peak Music).

One performer, electrodynamic speaker, 110 volts AC; absurdist gesture about electronic sound.

Analog synthesis and tape collage.