David Rosenboom Composer-Performer, Interdisciplinary Artist, Researcher, Author, Educator

Curriculum Vitae

Last revision: July 13, 2021

Born: September 9, 1947, Fairfield, Iowa, USA

Current Position Roy E. Disney Family Chair in Musical Composition, The Herb Alpert School of Music, California Institute of the Arts

Academic Positions and Activities 2020 Roy E. Disney Family Chair in Musical Composition, The Herb Alpert School of Music, California Institute of the Arts 2011 Co-Acting President, California Institute of the Arts 2007-2020 Richard Seaver Distinguished Chair in Music, The Herb Alpert School of Music, California Institute of the Arts 2006 Visiting Faculty, Computer Music Course, Music Department, Ionian University, Corfu, Greece 2006-2010 Composer in Residence/Faculty/Guest Composer, Center for Advanced Musical Studies at Chosen Vale, Summer Seminars, Enfield, NH. 2003 Faculty, Milton Avery Graduate School of the Arts, Music/Sound Program, Bard College 2002 Visiting Artist, Milton Avery Graduate School of the Arts, Music/Sound Program, Bard College 1995 George A. Miller Visiting Professor of Music, University of Illinois, (residency in celebration of the centennial of the U. of I. Music School) 1990-2020 Dean, The Herb Alpert School of Music, California Institute of the Arts 1990, 1991 Faculty, Summer Institute, Music Intensive, Centre for the Arts, Simon Fraser University, Vancouver 1989-1990 Professor of Music and Director, Center for Contemporary Music, Mills College, Oakland 1988-1990 Darius Milhaud Chair in Music, Mills College, Oakland 1988 Faculty, California College of Arts and Crafts, Oakland 1988 Visiting Faculty, Banff Centre School of Fine Arts, Alberta, Canada 1984-1990 Head, Department of Music, Mills College, Oakland 1983-1989 Associate Professor (tenured) of Music and Director, Center for Contemporary Music, Music Department, Mills College, Oakland 1982-1983 Assistant Professor of Music and Coordinator, Center for Contemporary Music, Music Department, Mills College, Oakland

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1981-1982 Visiting Assistant Professor of Music and Interim Coordinator, Center for Contemporary Music, Music Department, Mills College, Oakland 1981-1984 Instructor, Humanities Division, San Francisco Art Institute 1980-1981 Lecturer in Music, Instructor in Piano and Composition, Director, Contemporary Music Ensembles, Music Department, Mills College, Oakland 1979-1980 Director, Contemporary Music Ensembles and Instructor in Piano, Music Department, Mills College, Oakland 1977 Visiting Lecturer, Graduate Music Composition Dept., School of Music, University of Illinois, Urbana 1976-1979 Associate Professor (tenured) of Music and Interdisciplinary Studies, Faculty of Fine Arts, York University, 1972-1975 Assistant Professor of Music and Interdisciplinary Studies, Faculty of Fine Arts, York University, Toronto 1971-1972 Education Research Consultant, Board of Education 1971-1972 Course Director, Education Program, Intermedia Institute Inc., New York 1970-1971 Lecturer, Programme in Music, Faculty of Fine Arts, York University, Toronto 1969 Resident Composer, Summer Workshops in Contemporary Music, University of Illinois, Urbana 1968-1969 Guest Lecturer, Multi–Media Program, and Graduate School of Music Education, New York University 1965-1967 Performer, University of Illinois Contemporary Chamber Players, Urbana 1967-1968 Creative Associate, Rockefeller Fellow, Composer-Performer, Center for Creative and Performing Arts, State University of New York at Buffalo

Dissertation and Thesis Advisory Committees San Jose State University University of California at Los Angles (UCLA) York University, Toronto California Institute of the Arts

Professional Activities and Positions Ongoing- Consultant and outside evaluator on programs and curriculum for various institutions, including University of California at Los Angeles, Cornish College of the Arts, Riverside School for the Arts, Simon Fraser University, Arizona State University, Indian Institute of Technology (Jodhpur), and others Ongoing- Conductor/Guest Conductor for groups emphasizing contemporary music, recently including New Century Players (CalArts), Chamber Players, Symphony of the Canyons (Santa Clarita), Idyllwild Arts Symphony Orchestra, and others 2015-2016 Guest Associate Editor, Frontiers in Neuroscience, sonification, perceptualizing biological information 2008-2011 Grant Panel, French American Cultural Exchange (FACE) Contemporary Music Program, , France

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2003 International Academy of Astronautics, Study Group 6.3 on Interstellar Message Construction, Paris, France 1993-1994 Consultant, California Arts Council, Governor's Conference on the Arts and Technology, San Francisco, CA 1990-1991 Board of Directors, 18th Annual Plus Festival, Mills College, Oakland, CA 1990-present Editorial Advisory Board, Leonardo Music Journal, International Society for the Arts, Sciences, and Technology (ISAST), San Francisco 1987-1990 Board of Affiliates, Good Sound Foundation, Woodside, CA 1985 Selection Committee, Society for Electro–acoustic Music in the (SEAMUS), affiliate of International Society for Contemporary Music (ISCM) 1985 Artistic Advisory Board, New Music Alliance, for New Music America '85, Los Angeles 1984–present Reviewer for author submissions, Leonardo, International Society for Art, Sciences and Technology (ISAST), San Francisco 1983 Board of Directors, American Center for Electronic Music, Santa Fe, New Mexico 1981-1982 Consultant, Interactive Communication Systems, San Jose, California 1979-1980 Software Developer, Buchla and Associates, Berkeley, (electronic music instrument language development) 1978-present Director/Owner, Publishing, Toronto, and Piedmont, Berkeley, and currently, Santa Clarita, California 1977-1978 Associate, Buchla and Associates, Berkeley, (electronic music instrument development) 1976-1978 Board of Directors and Co–Founder, Artists Research Collective, Berkeley, (non–profit research organization) 1976 Judge, Ann Arbor Film Festival, Ann Arbor, Michigan 1975-1979 Director of Record Production, A.R.C. Publications and Recordings, Toronto 1974 Co–editor, Journal of Experimental Aesthetics, A.R.C. Publications and Recordings, Vancouver 1972-1973 Affiliate Producer, David Lucas Associates Inc., New York, (recording studio, music and television productions) 1971 Consultant, Nippon–Gakki Co., Yamaha Division, New York 1971 National Advisory Committee Member on Science and the Arts, American Association for the Advancement of Science 1971-1979 Board of Directors, Aesthetic Research Center of Canada, Vancouver, (non–profit education–research organization) 1970 Consultant, Tonus Inc., ARP Instrument Division, Newton Highlands, Massachusetts 1970 Consultant and Featured Artist, Intermedia Institute Inc., New York 1970 Featured Artist, New York State Council on the Arts, Composer in Performance Series 1969-1975 Violist, Theater of Eternal Music, New York, directed by LaMonte Young

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1969-1971 President and Co–Founder, Neurona Company, New York, an R&D firm for electronics in the arts 1969 Artistic Director, Electric Ear concert series and touring group in mixed media performance, New York 1968-1974 This period included a great deal of free–lance work composing, conducting, and producing music for many record companies, television and film companies, and commercial music houses in New York and Toronto, including the following: ABC, CBS, PBL, NET, Westinghouse Group "W", BBC, CBC, OECA, CTV, CITY TV, Global Television, Scientific American Films, Columbia, VOX, Prudential, RCA, Canadian ETV, Southam Videotel, Florient, Construction Safety Assoc., NCC, WCVB–TV, Colgate, Crawley Films, Pepsi Cola, Lucas–McFaul Assoc., Gnu Music, and many others. 1967-1968 Artistic Coordinator, Electric Circus, New York 1966 Conductor and Co–Music Director/Founder, Quincy Summer Symphony Orchestra, Quincy, Illinois

Community Service 1995-1999 Technology Advisory Committee, Newhall School District, (Los Angeles County), Santa Clarita, CA 1994-2002 Member and President, Site Council, Placerita Junior High School, Santa Clarita, CA 1994-1999 Chairperson and Co–Founder, Wiley Canyon Educational Foundation, (technology programs for public schools), Santa Clarita, CA 1992-1993 President, Society to Advance Gifted Education (SAGE), (educational enrichment programs), Santa Clarita, CA

Academic Administrative and Leadership Activities California Institute of the Arts 1990-present Co-Acting President Dean, School of Music Doctor of Musical Arts (DMA) Policy and Admissions Committees Chair, Task Force on Institutional Image Board Member, Center for New Performance Co-Director, Center for Experiments in Art, Information and Technology Co-chair, Deans' Council Artistic Director, Spring Music Festival and Music Explorations Series Long Range Planning Steering Committee Strategic Planning Steering Committee Program Committee, Integrated Media Search Committees for President; Provost; Dean, School of Theatre; Director and Dean of Enrollment Services; Dean, School of Dance; Vice President and CFO; Vice President for Advancement; Director of Career Services; and many faculty positions Curriculum Committee, School of Music and Institute Interdisciplinary Committee, Institute

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Executive Committee, School of Music Financial Aid Committee, School of Music Programming Committee, School of Music Marketing Committee, School of Music Producer for Music, Roy and Edna Disney CalArts Theatre Initiative Committee on Curriculum, Strategic Planning, CalArts Central Coordinating Committee, Strategic Planning, CalArts Advisory Group on the Design of REDCAT, Roy and Edna Disney CalArts Theater Major endowment projects, The Herb Alpert School of Music Design and construction projects, architectural expansions of the School, the Institute and The Wild Beast Music Pavillion Director/Conductor, CalArts New Century Players

Mills College 1979-1990 Director, Contemporary Music Ensembles Faculty Search Committees, Music Department and Communications Program Committee on Curriculum Revisions, Music Department Watson Fellowship Selection Committee Director, Center for Contemporary Music Academic Standing Committee Educational Technology Research Committee Faculty/Staff Search Committees (various college positions) Technical Representative, Inter–University Consortium on Educational Computing (national program) Chairman, Concert Committee, Music Department Head, Music Department Chairman, Task Force on Campus–wide Electronic Equipment Maintenance Search Committee, Darius Milhaud Chair in Music Strategic Planning Committees Graduate Council and Graduate Program Evaluation Committee Communication Program Committee

San Francisco Art Institute 1980-1982 Curriculum Development, Humanities and Interdisciplinary Divisions Establishment and fundraising for Electronic Arts Program Established Lab for Computers in the Arts

York University 1970-1979 Chairman, Committee on Tenure and Promotion, Music Department Committee on Graduate Studies, Music Department Search Committee for the Chairman of the Music Department Dean's Advisory Committee, Faculty of Fine Arts Chairman, Curriculum Committee, Faculty of Fine Arts Coordinator, Division of Interdisciplinary Studies, Faculty of Fine Arts

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Presidential Advisory Committee on the Selection of a Dean of the Faculty of Fine Arts Ad Hoc Committee on Grading Policy, Faculty of Fine Arts Committee on Interdisciplinary Studies, Faculty of Fine Arts Director, Electronic Media Studios, Department Director, Contemporary Performance Ensembles, Music Department Chairman, Curriculum Committee, Music Department Faculty Council Member, Faculty of Science Faculty Council Member, Faculty of Fine Arts Committee on University Computing Services Committee on Tenure and Promotion, Faculty of Fine Arts Director, Laboratory for Experimental Aesthetics, affiliated with Aesthetic Research Centre of Canada

Intermedia Institute Inc., New York 1969 Curriculum Design, Contemporary Media Courses Electric Circus for New York University Curriculum Design, Program on Computers in the Arts

Sponsored Research and Creative Projects 2013 The Aaron Copland Fund for Music, recording grant for Zones of Influence dual- CD project with Pogus Productions, (Chester, NY) 2009 Evelyn Sharp Foundation, AH! opera no opera, series of public performances at REDCAT Los Angeles of the results of A Counterpoint of Tolerance project 2008-2009 Transatlantic Arts Consortium, A Counterpoint of Tolerance, project in collective composition with international group of young composer-performers, 2-year project 2004 Duke-Surdna Fund for Interdisciplinary Projects, CalArts, Bell Solaris,Twelve Metamorphoses in Piano Theater, series of concert-theater performances at REDCAT Los Angeles in collaboration with director, Travis Preston 2002 & 2004 George and Marylou Boone Fund for Artistic Advancement, original composition and recording projects 1995 AT&T Foundation, multiple, simultaneous, public performance projects linking geographically distributed sites with telecommunications technology, (renewal of 3–year grant begun in 1991) to Center for Experiments in Art, Information and Technology,California Institute of the Arts 1991 AT&T Foundation, Peter and Eileen Norton Family Foundation, and Yamaha Corporation of America, Inc., applications of interactive software models in the performing arts and education and multiple, simultaneous, public performance projects linking geographically distributed sites with telecommunications technology; various projects carried out under major grants to Center for Experiments in Art, Information and Technology at California Institute of the Arts, including educational experiments with Open School and Center for Individualization Los Angeles, and Crossroads Academy Santa Monica; and telecommunications performance projects with Electronic Café International

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Santa Monica; The Kitchen Center New York; CERN (electronic music center) Nice, France; and others, 3–year project, co–principal developer, Morton Subotnick 1989 Mills College, Faculty Research Grant, continuation of cognitive modeling and 20th–century composition, and computer modeling of a composition tool kit in HMSL (Hierarchical Music Specification Language_ 1987 Mills College, Faculty Research Grant, cognitive modeling and 20th–century composition 1985 Inter–University Consortium on Educational Computing, major grant for development of software environment for experimental music, HMSL (Hierarchical Music Specification Language) 1985 Mills College, Course Development Grant, preparation of materials for a new musicianship skills training program in the Music Department 1985 Mills College, Faculty Research Grant, development of specialized hardware and software for the composition Zones of Influence 1984 Mills College, Faculty Research Grant, music copying costs for two compositions, In The Beginning I (Quartet) and In the Beginning III (Quintet) 1983 Irvine Foundation, participated in conception, formulation, and securing of major grant to establish electronic arts program and administrative computerization for the San Francisco Art Institute 1983 Mellon Foundation, establishment of Artificial Intelligence/Sound as Design Laboratory at the San Francisco Art Institute 1977 York University, sabbatical research sponsorship, development of and work with a new composing language for the manipulation of morphological shape structure in music, and development of a new live–performance oriented, computer assisted, electronic music instrument (work carried out in collaboration with designer, Donald Buchla, Artists Research Collective Berkeley) 1977 York University, Faculty of Fine Arts, research grant, a new computer language for composition and performance of electronic music 1976 York University, Faculty of Fine Arts, research grant, development of a computerized performing instrument for musical interface with the human nervous system (continued) 1975 Canada Council, Explorations Program, major research grant, explorations in the artistic potential of new developments in biofeedback and the relation of information processing modalities of the brain to aesthetic experience 1975 York University, Faculty of Fine Arts, research grant, development of a computerized performing instrument for musical interface with the human nervous system 1974 York University, Faculty of Fine Arts, research grant, new music composition 1973 York University, Faculty of Fine Arts, research grant, new music composition 1971 National Science Foundation, Research Assistantship in project directed by Dr. Lloyd Kaufman, evoked responses to visual illusions, Dept. of Experimental Psychology, New York University

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Professional Associations (beginning dates) 2001 American Composers Forum, Los Angeles Chapter 1994 Electronic Music Foundation 1990 National Association of Schools of Music 1987 Good Sound Foundation, Board of Affiliates 1985 New Music Alliance 1981 Composers' Forum 1980 New Langton Arts, San Francisco 1978 American Music Center 1979 David Rosenboom Publishing (BMI), Toronto, Berkeley, Piedmont, Valencia 1978 Chez Hum–Boom Publishing (BMI), Toronto, Berkeley, Piedmont, Valencia 1974 Independent Curators Inc., Washington, D.C., (personal appearance bookings) 1968 Sheldon Soffer Management, New York, (personal appearance bookings) 1975 American Society of University Composers 1973 College Music Society 1970 American Association for the Advancement of Science (AAAS) 1969 Experiments in Art and Technology (EAT) 1968 Broadcast Music Inc. (BMI) 1968 Association of Independent Composers and Performers 1965 American Federations of Musicians (A.F. of M.)

Schools Attended (post-secondary) 1968-1969 New York University, Composers' Workshop and Experimental Psychology (was advanced into Ph.D. program in Experimental Psychology by examinations in music and psychology 1971) 1965-1967 University of Illinois, Urbana, Music Composition 1965-1972 Extensive private studies in composition, performance, theory, conducting, computer science, psychology, neuroscience, physics, electronics, systems theory 1964 Interlochen Center for the Arts, Music Composition

Selected Major Teachers 1965-1967 Composition: Salvatore Martirano, Gordon Binkerd 1962-1967 Violin: Wayne Pyle, Melvin Ritter, Paul Roland, Homer Schmidt, Herman Berg 1965-1966 Piano: Soulima Stravinsky 1966-1967 Percussion: William Youhass, Jack McKenzie 1963 Trumpet: Dale Kimpton 1964-1967 Conducting: Bernard Goodman, A. Clyde Roller, Eugene Ormandy 1965-1968 Additional Musical Studies: (systems theory), (electronic and computer music), John Garvey, (chamber music, viola), Pandit (Indian music) 1968-1972 Experimental Psychology: Lloyd Kaufman, George Sperling, Edgar E. Coons, Les Fehmi

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Honors and Awards Richard Seaver Distinguished Chair in Music, California Institute of the Arts Darius Milhaud Chair, Mills College George A. Miller Professorship, University of Illinois Honored Nominee, 1987 Professor of the Year program, The Council for Advancement and Support of Education Interlochen Press Composition Prize Quincy Foundation Scholarship Sigma Alpha Iota Music Scholarship Theodore Presser Scholarship in Music Edmund J. James Scholar, University of Illinois Illinois State Honorary Scholarship University of Illinois Foundation Scholarship William A. Anderson Scholarship

Commissions Isaura String Quartet (Los Angeles) Harvestworks for New York Electronic Arts Festival Satoko Inoue, pianist (Tokyo) The Industry Productions (Los Angeles) Transatlantic Arts Consortium (Los Angeles, Dartington UK, Idyllwild CA) Vicki Ray, pianist (Los Angeles) California E.A.R. Unit (Los Angeles) Katrina Krimsky, pianist (Zürich and San Francisco) Colburn School for Performing Arts (Los Angeles) Museum of Contemporary Art, Los Angeles with Pasadena Art Alliance (two interactive media installations) Shaklee Foundation through Mills College, major musical and theatrical work (Oakland) Abel–Steinberg–Winant Trio (Oakland) Danceart Company, McFarlane–Whistler (San Francisco) William Winant, percussion (Oakland) Ontario Science Centre (Toronto) Arch Ensemble for Experimental Music and Conimicut Foundation (Berkeley) Toyoji Peter Tomita, trombonist (Berkeley) Array, contemporary music ensemble (Toronto) York Winds, woodwind quintet (Toronto) Ontario Arts Council (two commissions) Peggie Sampson, viola da gamba (Toronto) Canada Council () Medtronic Archive, Museum of Electricity and Life (Minneapolis) National Endowment for the Arts (Washington) Electric Stereopticon, music & multi–media (Dekalb, IL)

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Electric Circus Foundation (New York) Columbia University (New York) State University of New York at Buffalo, Drama Department New Percussion Quartet (Buffalo) New York State Council on the Arts Lawrence Singer, oboist (Buffalo and New York) G. Alan O'Connor & William Youhass, percussionists (Champaign-Urbana)

Writings Articles/Papers—Peer Reviewed 2021 Music of many nows, musical configuration spaces and the networked possible. In Parra, J. C. (Ed.). ECHO, #2, Ghent, Belgium: Orpheus Instituut. Online journal: https://echo.orpheusinstituut.be. 2020 Editorial: Sonification, Perceptualizing Biological Information. With MInciacchi D., Bravi R., and Cohen E.F. Frontiers in Neuroscience 14:550. DOI: 10.3389/fnis.2020.00550. 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. 2003 Propositional music from extended musical interface with the human nervous system. 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). 1997 Propositional music: on emergent properties in morphogenesis and the evolution of music; part II: imponderable forms and compositional methods. Leonardo Music Journal, 7, 35–39. 1997 Propositional music: on emergent properties in morphogenesis and the evolution of music; part I: essays, propositions and commentaries. Leonardo, 30(4), 291– 297. 1995 Center for Experiments in Art Information and Technology (CEAIT ): studio report. With Coniglio, M. and Subotnick, M. In Proceedings Of The 1992 International Computer Music Conference. San Francisco: International Computer Music Association (ICMA). 1992 Parsing real–time musical inputs and spontaneously generating musical forms: Hierarchical Form Generator (HFG). In Proceedings Of The 1992 International Computer Music Conference. San Francisco: International Computer Music Association (ICMA). 1990 The performing brain. Computer Music Journal, 14(1), 48–66. [Includes accompanying sound sheet with two recorded excerpts from On Being Invisible with printed notes.] 1988 Extended musical interface with the human nervous system: assessment and prospectus. (Abstract of speech given to First International Symposium On Electronic Art, Utrecht, Holland). Leonardo, Electronic Art Supplemental Issue, 121.

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1987 HMSL: overview (version 3.1) and notes on intelligent instrument design. With Polansky, L. and Burk, P. In Proceedings Of The 1987 International Computer Music Conference, 220–227. (San Francisco: International Computer Music Association (ICMA)). 1986 Symposium on computer music composition. With Roads, C. (ed.), Battier, M., Barlow, C., Bischoff, J., Brün, H., Chadabe, J., et. al. Computer Music Journal, 10(1), 40–63. 1985 Studio report: recent developments at the Center for Contemporary Music 1981– Mills College. With Polansky, L. In Proceedings of the International Computer Music Conference 1985, 419–424. (San Francisco: International Computer Music Association (ICMA)). 1985 HMSL (Hierarchical Music Specification Language) a real–time environment for formal, perceptual and compositional experimentation. With Polansky, L. In Proceedings of the International Computer Music Conference 1985, 243–250. (San Francisco: International Computer Music Association (ICMA)). 1975 A model for detection and analysis of information processing modalities of the nervous system through an adaptive, interactive, computerized, electronic music instrument. In Proceedings of the Second Annual Music Computation Conference, Part 4, Information Processing Systems, 54–78. (Urbana, IL: Office of Continuing Education in Music, University of Illinois). 1972 Method of producing sounds or light flashes with alpha brain waves for artistic purposes. Leonardo 5, 2 141-145. In Malina, F.J. (ed.). (1973). Kinetic Art, 152–156. (New York: Dover Pub.). Japanese translation, (1974). Space Design, 10. (Tokyo: Kajima Institute Pub. Co.). 1970 In support of a systems theoretical approach to art media. In Proceedings, 1970, 56–68. (New York: American Society Of University Composers/American Music Center).

Articles/Papers—Invited and/or Commissioned 2020 Exploring Compositional Choice in the SalMar Construction and Related Early Works by Salvatore Martirano. In Hagan, K. and M. Puckette (eds.). Between the Tracks. (Cambridge, MA: The MIT Press). 2020 Resonance Morphogenesis. In Bonnet, F. and B. Sanson (eds.). Spectres II — Resonances. (Rennes, France: Shelter Press). 2019 More than one—artistic explorations with multi-agent BCIs. With T. Mullen. In Nijholt, A. (ed.). Brain Art, Brain-Computer Interfaces for Artistic Expression. (Springer Nature Switzerland AG). 2018 Propositional music—where art and science may meet in deep theoretical territory. Section of speech: Malina, R. with D. Rosenboom. Now that we have helped redesign the arts, let’s start redesigning the sciences. L. Tuo (Transcription ed.). In Zhuangshi, 11, 024-027. (Beijing: Tsinghua University Design Journals), (in Chinese).

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2018 Propositional music of many nows. In Bogdanovic, D. and X. Bouvier (Eds.) Tradition and Synthesis—Multiple Modernities for Composer-Performers, 121- 142. (Lévis, Québec, Canada: Les Éditions Doberman-Yppan). 2018 Collapsing distinctions—performer-composer as metaphor for transcultural and transmodern music education. (Beijing: Global Forum Among Leaders of Higher Music Institutions, China Conservatory of Music). 2017 "2 + 2 = green" — Innovation in Experimental Music at the University of Illinois. In Hoxie, F. (ed.) The University of Illinois: Engine of Innovation, 121-134. (Urbana-Champaign: University of Illinois Press). 2015 Ringing Minds. With Mullen, T. and A. Khalil. Part of Mullin, T., et. al. MindMusic: Playful and Social Installations at the interface Between Music and the Brain. In Nijholt, A. (ed.). More Playful User Interfaces. Interfaces that Invite Social and Physical Interaction. Series: Gaming Media and Social Effects, 221- 229. (London: Springer-Verlag). 2014 Brain-computer music interfacing (BCMI): one place where science and music may meet in deep theoretical territory. In Reck, E. R. and J. Castet. (Eds.). Guide to Brain-Computer Music Interfacing, v-x. (London: Springer-Verlag). 2013 Fostering and supporting student creativity and innovation. In Proceedings, The 88th Annual Meeting 2012, 43-54. (Reston, VA: National Association of Schools of Music). 2012 A conversation about music between Iannis Xenakis and David Rosenboom 1983. In Kanach, S. (ed.). Xenakis Matters - Contexts, Processes, Applications, xxx-xlii. (Hillsdale, New York: Pendragon Press). 2005 How Important is the Scientific Aspect of Your Work? David Rosenboom. (New York: Newmusicbox). Online: https://nmbx.newmusicusa.org/how-important-is- the-scientific-aspect-of-your-work-david-rosenboom/ 2004 Lejaren Hiller: a true American musical experimentalist. Preface in Bohn, J. M. The Music of American Composer Lejaren Hiller and an Examination of His Early Works Involving Technology, i-xix. (Lewiston, NY: Edwin Mellen Press). 2003 The imperative of co–creation in interstellar communication: lessons from experimental music. Leonardo Electronic Almanac, 11, 7. (Cambridge, MA: The MIT Press). [Online distribution.] 2002 Pleasure has an opposite, or somewhere over whose rainbow? Leonardo Music Journal, 12, 73–78. 2001 Propositional music and transformation in the new millennium–a chord is a verb, not a noun. New Music LA, January-February. (Los Angeles: American Composers Forum, Los Angeles Chapter). 2001 Propositional music: on emergent properties in morphogenesis and the evolution of music; essays, propositions, commentaries, imponderable forms and compositional methods. In Zorn, J. (ed.). Arcana: Musicians on Music, 203– 232. (New York: Hips Road and Granary Books).

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1996 Improvisation and composition–synthesis and integration into the music curriculum. In Proceedings, The 71st Annual Meeting, 1995,19–31. (Reston, VA: National Association of Schools of Music). 1996 B.C.–A.D. and Two Lines, two ways of making music while exploring instability, in tribute to Salvatore Martirano. Perspectives of New Music, 34, (1), 210– 226. 1992 Complex adaptive systems in music. (Abstract for invited presentation.) The Journal of the Acoustical society of America, 92, (4), (2), 2403. 1992 Interactive music with intelligent instruments–a new, "propositional music?". In Brooks, I. (ed.). New Music Across America, 66–70. (Valencia and Santa Monica, CA: California Institute of the Arts and High Performance Books). 1991 Music composition, scoring a painting. In Sound & Images, Conference Report, Program For Art On Film, 22–23. (New York: The Metropolitan Museum of Art and the J. Paul Getty Trust). 1992 Music notation and the search for extra–terrestrial intelligence. In Scholz, C. (ed.). Frog Peak Anthology. (Hanover, NH: Frog Peak Music). Also in (1993) Leonardo, 26, (4), 273–274. 1990 HMSL (Hierarchical Music Specification Language): a theoretical overview. With Polansky, L. & Burk, P., lead authors. Perspectives Of New Music, 28, (2), 136– 178. 1987 A tribute to . In Polansky, L. and D. Rosenboom. (Guest eds. for special issue). Perspectives of New Music, 25, 1 & 2, 434–591. 1987 and James Tenney. Perspectives of New Music, 25, 1 & 2 , 562–563. 1987 Frames for future music (six composition lessons). Leonardo, 20, 4, 363–365. 1987 A program for the development of performance oriented electronic music instrumentation in the coming decades: 'what you conceive is what you get'. Perspectives of New Music, 25, 1 & 2, 569–583. 1987 Cognitive modeling and musical composition in the Twentieth–Century: a prolegomenon. Perspectives of New Music, 25, 1 & 2, 439–446. 1987 Barry Truax: Sequence of Earlier Heaven. Computer Music Journal, 11, 2, 71– 72. 1985 FOIL–85 and Meta–FOIL source listings. (Valencia, CA: David Rosenboom Publishing). 1984 On being invisible. Musicworks, 28, 10–13. (Toronto: Music Gallery). 1983 FOIL–83 source listings. (Santa Clarita, CA: David Rosenboom Publishing). 1982 Towards a language for self–directed learning by computer facilitated interaction with large visual knowledge bases. [Online: http://www.davidrosenboom.com ] 1982 Artificial intelligence and art education. [Online: http://www.davidrosenboom.com ] 1980 FOIL source listings. (Berkeley, CA: Buchla and Associates). 1980 User's guide to playing Touché and programming with FOIL. (Berkeley, CA: Buchla and Associates).

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1980 Programmer's notes on FOIL (Far Out Instrument Language). (Berkeley, CA: Buchla and Associates). 1977 On Being Invisible: I. The qualities of change II. On being invisible (1978), III. Steps towards transitional topologies of musical form (1982). (1984). Musicworks, 28, 10-13. (Toronto: Music Gallery). 1977 Maple Sugar. With Humbert, J. (Description of performance art project). In Parallelogram Retrospective 1976-1977, 138–139. (: Association of Non–Profit Artists' Centers). 1977 Churchman and Valenstein: a critical review. [Online: http://www.davidrosenboom.com ] 1976 Prolegomenon to extended musical interface with the human nervous system: an outline mandala of electro–cortical forms observable through point consciousness. In Byron, M. (ed.). Pieces: A Second Anthology, 105–114. (Toronto: Michael Byron Pub.). Also, (1984). Musicworks, 28. (Toronto: Music Gallery). 1973 Rosenblueth and Halacy: a joint review. Book review. Leonardo, 6, 267–268. 1973 Vancouver piece. (Description of biofeedback installation piece). In Grayson, J. (ed.). Sound Sculpture, 128–131. (Vancouver: Aesthetic Research Centre of Canada Publications). 1973 Three-day biofeedback learning experience for Brown University. (Japanese translation). Transonic, 3. (Tokyo: Zen–On Music Co.). 1971 Notes on Morton Subotnick's 'Laminations' and William Bergsma's 'Violin Concerto'. Record liner notes. (New York: VOX Records). 1970 ...The future of art and power. for the last several million years.... The Composer, I, (4). (Redondo Beach, CA: Composers Autograph Publications). 1968 Saturation in multi–media. The Continuum, I, (3). (Urbana, IL: Association of Independent Composers and Performers.) 1968 Program notes for an Electric Ear Concert: Hiller, Reynolds, Subotnick, Martin, & Martirano. (New York: Electric Circus). 1968 Electric Circus analogous. (New York: Electric Circus).

Books/Monographs 2003 Collapsing Distinctions: Interacting Within Fields of Intelligence on Interstellar Scales and Parallel Musical Models. (Santa Clarita, CA: David Rosenboom Publishing). [Online: http://www.davidrosenboom.com ] 1990 and 1997 Extended Musical Interface with the Human Nervous System: Assessment and Prospectus. Leonardo Monograph Series, 1. (Berkeley, CA: International Society for the Arts, Sciences, and Technology). Revised version. (1997). (Cambridge, MA: The MIT Press, Electronic Journals, Leonardo Monograph Series, 1). [Online: http://www.davidrosenboom.com ] 1987 Collected Scores 1965–1973. (Hanover, NH: Frog Peak Music). [Scores for twelve musical works.] 1987 Music for Keyboard Instruments and Improvisation Groups, 1964–1981. (Hanover, NH: Frog Peak Music) [Scores for ten musical works.]

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1987 In The Beginning, a Collection of Works, 1978–1981. Santa Clarita, CA: David Rosenboom Publishing. (Hanover, NH: Frog Peak Music). [Scores and documentation for nine musical works.] 1984 Collected Articles (1968–1982). (Hanover, NH: Frog Peak Music). 1978 The J. Jasmine Songbook. With Humbert, J. (ed.) & Manupelli, G. (Hanover, NH: Frog Peak Music). [A set of piano–vocal scores.] 1975 Biofeedback and the Arts: Results of Early Experiments, (ed.). (Vancouver: Aesthetic Research Centre of Canada; and Hanover, NH: Frog Peak Music).

Selected Interviews of David Rosenboom 2021 Bejarano, N. Episode 21: David Rosenboom, Composer. The Arts Salon, Anchor by Spotify. Online: https://anchor.fm/artssalon/episodes/Episode-21- David-Rosenboom--Composer-e1079e9 2018 Bazin, A. Concerts Focus au Centquatre, David Rosenboom, Portable Gold and Philosopher’s Stones (Deviant Resonances), (Paris, INA/GRM). Online: https://www.youtube.com/watch?v=6- Euoyp1Yfs&t=18s&list=PL8NovBiM4ExJVEHpl89XRFuMfxBvWMnBX&index=20 2017 Rovner, L. Interview for the film Sisters with Transistors. 2016 Interview of David Rosenboom, in: Luke Fowler and Mark Fell: Computers and Cooperative Music-Making, (London: Whitechapel Gallery). Online: https://www.youtube.com/watch?v=Imko56liahw&list=PL8NovBiM4ExJVEHpl8 9XRFuMfxBvWMnBX&index=2 2015 Field, C. Interview for documentary film on Donald Buchla, in progress. 2009 Bellen, M. Interview of David Rosenboom. Online: http://www.martinebellen.com 2008 Gluck, B. Interview of David Rosenboom for publications: Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York, Leonardo, 45:1, 2012, pp. 50-56; Nurturing Young Composers: Morton Subotnick’s Late-1960s Studio in New York City, Computer Music Journal, 36:1, 2012, pp. 65-80; Silver Apples, Electric Circus, Electronic Arts, and Commerce in Late-1960s New York, International Computer Music Conference, 2009. 2006 Soltes, E. Interview with David Rosenboom. In Oral History of American Music. (New Haven, CT: Yale University). 2003 Beckwith, S. David Rosenboom. In York, the Founding Generation, 1970–2000, 69–78. (Toronto: Department of Music, Faculty of Fine Arts, York University). 1986 Paul, D. Biomusic and the brain—interview of David Rosenboom. Performing Arts Journal, 29, 12–16. 1983 Polansky, L. Interview with David Rosenboom. Computer Music Journal, 7(4), 40–44. Also in OP Independent Music Magazine, U, 49–51. (1984). (Olympia, WA: Lost Music Network). Also in Roads, C. (ed.). The Music Machine, Selected Readings from the Computer Music Journal, 45–49. (1989). (Cambridge, MA: The MIT Press). 1983 Plush, V. Interview with David Rosenboom. In Oral History of American Music. (New Haven, CT: Yale University).

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1982 Siddal, J & Timar, A. In conversation: David Rosenboom and . Musicworks, 21, 12–14. (Toronto: Music Gallery). 1982 Soltes, E. David Rosenboom: an emerging electronic aesthetic. City Arts Monthly, March/17. (San Francisco). 1980 Millar, H. Rosenboom brings electronic flair to music. The Mills Stream, October 2. (Oakland, CA: Mills College). 1978 Davis, B. David Rosenboom: recent cybernetic insights. Synapse, 18–19, 42. (Los Angeles). 1976 & 2020 Zimmermann, W. In Desert Plants: Conversations with 23 American Musicians, 83–192. (Cologne and Vancouver: Beginner Press and Aesthetic Research Centre of Canada Publications). 2020 edition with CD containing audio recordings of the interviews. (Köln, Germany: Musik Texte). 1972 Dewar, S. Biofeedback opens the door to man's internal life. The Globe and Mail, November 11, 1972. (Toronto). 1971 Collier, B.L. Brain power, the case for bio–feedback training. Saturday Review, April 10, 1972. 1970 Henahan, D. Music draws strains direct from brains. The New York Times, November 20, 1970. 1969 Henehan, D. Multimedia's mother of them all. (Interview with , Salvatore Martirano & David Rosenboom for article about Thais Lathem. The New York Times, April 13, 1969. 1968 Putnam, T. Composer stresses naming works. Buffalo Courier–Express, March 3, 1968. 1968 Brady, K. Composing long–hair folk rock–music in a world of symbols. Buffalo Evening News, March 1, 1968.

Published/Distributed Recordings Recordings of Original Compositions 2021 Live Ateliers Claus. https://davidrosenboom.bandcamp.com/album/live-ateliers- claus (Brussels: Les Ateliers Claus) and https://www.cafeoto.co.uk/shop/david- rosenboom-live-ateliers-claus/ (London: Café OTO). [digital album]. 2019 Deviant Resonances—Live Eletronic Music with Instruments, Voices & Brains. (North Hampton, NH: Ravello Records) [2-CD set and digital]. 2019 Brainwave Music (inc. On Being Invisible (Live at Western Front, Vancouver). Remastered. (Black Truffle Records). [LP]. 2018 J. Jasmine . . . My New Music (inc, Oasis in the Air), (with Jacqueline Humbert). Re-mastered. (New York: Unseen Worlds Records). [LP and digital]. 2017 Lucha's Quinceañera Song and Hades. On Hopscotch. (Los Angeles: The Industry Records) [Digital media USB key]. 2015 Naked Curvature (a whispered opera). (New York: Tzadik) [CD]. 2014 Zones of Influence, five movements for percussion soloist and computer music system. (Chester, NY: Pogus Productions). [2-CD set]. 2013 Daytime Viewing, (with Jacqueline Humbert). Rre-mastered. (New York: Unseen Worlds). [LP, CD, and digital].

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2012 In the Beginning (eight compositions). (New York: New World Records). [2-CD set]. 2012 Life Field, retrospective selections 1964-2004. (New York: Tzadik) [CD]. 2012 Hymn of Change, (arrangement for string quartet by A. Tholl). In Cold Blue Two. (Los Angeles: Cold Blue Music). [CD]. 2012 Roundup Two, Selected music with electro-acoustic landscapes (1968-1995). (Japan: Art Into Life). [2-CD set]. 2011 J. Jasmine . . . My New Music (inc, Oasis in the Air), (with Jacqueline Humbert). Re-mastered. (Seoul, Korea: Big Pink Music). [CD]. 2009 How Much Better If Plymouth Rock Had Landed On The Pilgrims. (New York: New World Records). [2-CD set]. 2008 Predictions, Confirmations and Disconfirmations. On Experimental Music Studios (1958-2008). (Urbana-Champaign, IL: University of Illinois School of Music). [4- CD set]. 2007 Future Travel & And Out Come the Night Ears, (New York: New World Records). [CD]. 2006 Brainwave Music 2006. (Tokyo: EM Records). [CD]. 2006 On Being Invisible (Excerpt). Computer Music Journal, 30,4 [CD accompanying journal]. 2005 Zones of Coherence & Music for Unstable Circuits (+Drums+Trumpet). On Daniel Rosenboom, Bloodier, Mean Son. (Los Angeles: Nine Winds Records). [CD]. 2004 And Come Up Dripping. In Libby Van Cleve, Oboe Unbound. (Lanham, MD: Scarecrow Press). [CD contained in book.] 2004 Suitable for Framing (inc. Suitable Bonus), (with J.B. Floyd and ). (New York: Mutable Music). [CD]. 2004 Chanteuse, Songs of a Different Sort, (with Jacqueline Humbert). (New York: Ltd.). [CD]. 2000 Invisible Gold. (Chester, NY: Pogus Productions). [CD]. 2000 Music from—On Being Invisible II (Hypatia Speaks fo Jefferson in a Dream). On Austin, L. & Trayle, M. (producers). Transmigration Music. (Baton Rouge, LA: Centaur Records, Inc., Consortium to Distribute Computer Music, 30). [CD]. 1999 Challenge, (with and William Winant). On Bidi, Bidi, Bidi, Bananafish, 13, (San Francisco: Tedium House Publications). [CD accompanying periodical]. 1992 Two Lines/David Rosenboom/Anthony Braxton. (New York: Lovely Music, Ltd.0. [CD]. 1993 Extended Trio: Sampler, (with Charlie Haden and Trichy Sankaran). On Parsons, J, (producer). Hallways, Eleven Musicians and HMSL. (Hanover, NH: Frog Peak Music). [CD]. 1991 A Precipice in Time. On Austin, L. (producer). The Virtuoso in the Computer Age. (Baton Rouge, LA: Centaur Records, Inc., Consortium to Distribute Computer Music, 10). [CD].

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1990 On Being Invisible (Excerpt). Computer Music Journal, 14,1. [Sound sheet accompanying journal]. 1990 Study for ‘ZONES’. In Musicworks, 28. [Cassette accompanying periodical]. Also on one.source, HMSL. (Hanover, NH: Frog Peak Music). [Cassette]. 1989 Systems of Judgment. (Baton Rouge, LA:,Centaur Records, Consortium to Distribute Computer Music , 4). [CD]. 1987 Roundup: A Live Electro-acoustic Retrospective (1968-1984). (‘s-Hertogenbosch, The Netherlands: Slowscan Editions, 7). [Cassette]. 1986 In The Beginning: Etude I (Trombones). On Rosenboom, D. (ed.): Music From Mills. (Oakland, CA: Mills College and Hanover, NH: Frog Peak Music). [3- record anthology]. 1983 On Being Invisible (Excerpt). On, Musicworks Cassette #28. (Cassette accompanying periodical). 1983 Music of J.B. Floyd and David Rosenboom. (Miami, FL: National Public Radio, Miami). 1983 and1988 second edition. Daytime Viewing (with Jacquelin Humbert). (Santa Clarita, CA: Chez Hum-Boom Publishing) [Cassette]. 1982 Future Travel. (Detroit, MI: Street Records). [LP record]. 1981 In The Beginning: Etude II (keyboard-mallets-harps). On Soltes, E. (producer). Contemporary Keyboard Music. (Albany, CA: National Public Radio.) 1978 Rosenboom and Buchla: Collaboration in Performance. (Berkeley, CA: 1750 Arch Records). [LP record]. 1977 J. Jasmine . . . My New Music, (with Jacqueline Humbert). (Ann Arbor, MI: Ann Arbor Film Festival). [LP record]. 1977 The Seduction of Sapientia. On Peggy Sampson, The Contemporary Viola da Gamba. (Toronto: Music Gallery Editions). [LP record]. 1977 On Being Invisible. (Toronto: Music Gallery Editions). [LP record]. 1976 Keyboard Encounter for Two Pianos and Two Unacquainted Pianists, (with Charles McDermed). Donald Buchla (organizer). Composers Cassettes, Vol. VII. (Los Gatos, CA: Ocean Records). [Cassette]. 1976 Brainwave Music. (Toronto: Aesthetic Research Centre of Canada, A.R.C. Records). [LP record]. 1976 Continental Divide (Rosenboom, D.) and Chilean Drought (Rosenboom, D. & J. Humbert), (with NEXUS). (Toronto: Canadian Broadcasting Corporation). 1975 Light, (with Terry Clarke, J.B. Floyd, Rick Homme, Kathy Moses, and Brucd Pennecook). (Toronto: Canadian Broadcasting Corporation). 1975 Suitable for Framing: Forms of Freedom for Two Pianos and Mrdangam, (with J.B. Floyd and Trichy Sankaran). (Toronto: Aesthetic Research Centre of Canada, A.R.C. Records). [LP record]. 1972 And Come Up Dripping. In H.R. Wilson, et. al., Growing With Music, 8. (Englewood Cliffs, NJ: Prentice-Hall, Triton Records). (LP record included with book].

As Perform or Producer of Works by Others

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2005 (Percussionist). With McFaul, T., Newton, L.D., Stanley, R. & Stuhler, B. THINK DOG – Dog Days. (Germany: Shadoks). (LP record and CD]. 2003 (Percussionist). With McFaul, T., Newton, L.D. & Stanley, R. Before There Was Time. (Germany: Shadoks). [LP record and CD]. 2004 (Producer, performer, arranger, electronic landscapes). Chanteuse, Songs of a Different Sort. (Works by Ashley, R., Ashley, S., La Barbara, J., Humbert, J., Manupelli, G., Tenney, J., Polansky, L., Krimsky, K., Lucier, A., Matamoros, G., & Rosenboom, D.). (New York: Loveley Music Ltd.). [CD]. 2000 (Conductor, pianist). (Works by Byron, M.). Music of Nights Without Moon or Pearl. (Venice, CA: Cold Blue). [CD] 2000 (Conductor). (Work by LeBaron, A.). Telluris Theoria Sacra. On Sacred Theory of the Earth. (New York: Composers Recordings, Inc.). [CD]. 1999 (Conductor), (Work by Smith, W. L.). Nur: Luminous, Light Upon Light. On Light Upon Light. (New York: Tzadik). [CD]. 1992 (Co-producer with Ashley R. of Ashley work). Improvement (Don Leaves Linda). (New York: Elektra Nonesuch). [CD]. 1991 (Pianist and interactive computer instruments). (Work by Braxton, A.). Composition No. 107. On Austin, L. (producer). The Virtuoso in the Computer Age. (Baton Rouge, LA: Centaur Records, Inc., Consortium to Distribute Computer Music, 10). [CD]. 1988 (Pianist), The Anthony Braxton Quartet, “...if my memory serves me right”. (Wuppertal, Germany: West Wind, Bellaphon Records, ITM-Records). [CD]. 1987 (Pianist). (Work by Byron, M.). Starfields. (New York: TELLUS Cassettes, 4). (143 Ludlow St., Suite 14, NYC, 10002), New York, 1987. 1987 (Pianist), Anthony Braxton Five Compositions (Quartet). (Milan, Italy: Black Saint IREC). [CD]. 1986 (Pianist, producer, editor). (3-record anthology of 21 composers). Music From Mills. (Oakland, CA: Mills College). 1984 (Producer, recording engineer). (Work by Byron, M.). Marimbas in the Dorian Mode. (Los Angeles: Cold Blue Records). (LP record) 1982 (Electronic arrangement). (Work by Elbel, L.). The Victors. (Birmingham, MI: Streetside Records). [45 rpm single record]. 1982 (Pianist). (Work by Byron, M.). Entrances. On Tidal: Michael Byron. (New York: Neutral Records). (LP record, N5]. 1982 (Producer, engineer). (Recording to accompany book). Sankaran, T. The Art of Drumming: Mrdangam. (Toronto: York University). 1978 (Violinist, violist). (Work by Bekaert, J.). Summer Music. (New York: Lovely Music, Ltd.). (LP record). 1977 (Percussionist, electronics, engineer). (Works by Hassell, J.). Vernal Equinox. (New York: Lovely Music, Ltd.). [LP and CD]. 1975 (Violinist, synthesizer). (Works by Kaufman, M.). Solar Explorations. (Toronto: GRT Records) [LP record]. 1975 (Producer, performer, engineer). The Sounds of Sound Sculpture. (Toronto: Aesthetic Research Centre of Canada, A.R.C. Records). [LP record].

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1968 (Violist). (Work by Riley, T.). . (New York: Columbia CBS Records). [LP record and CD]. 1967 and 1987 (Violinist). (Work by Hiller, L. & Isaacson, L.). Illiac Suite. On Computer Music from the University of Illinois. (New York: MGM-Heliodore). Re-released as Quartet No. 4 for Strings ‘Illiac Suite’ (1957). On Lejaren Hiller: Computer Music Retrospective. (Mainz, Germany: Wergo). [CD]. 1964 (Violinist). (Works by Williams, V. & Taylor, D.) Van Cliburn Conducts. (New York: RCA Victor). [LP record].

Software and Eletronic Instruments Distributed Computer Music Software HMSL (Hierarchical Music Specification Language). Co–developed with Phil Burk and Larry Polansky, an object–oriented software environment for music composition, performance, and experimentation, developed in the early 1980’s at the Center for Contemporary Music at Mills College and continuing independently into the 1990’s, version up to 4.21 were created; now available from Frog Peak Music, Hanover, NH. MetaFOIL, MetaHMSL, and FOIL–83. Further languages for the Touché developed to facilitate algorithmic composition, intelligent instrument performance, and interface with other instrument and sensors; MetaHMSL was a precursor to the later development of the widely used HMSL described below; David Rosenboom Publishing, Piedmont and Santa Clarita, CA, 1979 to 1983. FOIL (Far Out Instrument Language). Instrument definition and performance language for the Touché computer music instrument, an early keyboard instrument with digital tone generation and interactive performance software, developed at Buchla and Associates, Berkeley, CA, 1979.

Undistributed Computer Music Software Composition software written in Reaktor, Supercollider and related applications for many compositions and interactive performance tools from 1990s to the present. Touché II. Software instrument inspired by the original Touché digital keyboard instrument (Donal Buchla in collaboration with David Rosenboom), greatly expanded and written in Reaktor by David Rosenboom and Martijn Zwartjes in 2007. OBI II. Tools for data acquisition, brain signal analysis, and detection of event related potentials (ERP’s) with links to HFG software described above and the HMSL/DSP digital synthesis tools created by Phil Burk, developed in the mid– 1990’s. HFG (Hierarchical Form Generator). Interactive language for improvisation based on a partial model of perception used to parse musical inputs and re–map them onto a performing input device along with parametric shape transformation routines, written in HMSL, developed in the early 1990’s.

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HMSL Compositions. A large library of software tools for various compositions and algorithmic music projects written in HMSL, 1980’s through 1990’s. OBI I. Software tools for brain signal analysis and self–organizing musical form generation written in the mid–1970’s for Interdata mini–computers with interfaces to data acquisition equipment, signal correlation function and Fourier analysis equipment, and Buchla 300 Electronic Music System, created to enable the composition, On Being Invisible. Algorithmic Composition Toolkit in BASIC. Written in the 1970’s for Interdata mini– computers. Composition software. Software specific to various compositions and research projects written for various IBM and Digital Equipment Corporation computers from the late 1960’s to mid–1970’s.

Electronic Instruments 1979-1980 Touché, collaboration with Donald Buchla on development of computerized, hybrid, digital-analog keyboard instrument. 1974 Portable Gold and Philosophers’ Stones II, portable biofeedback instrument based on design of systems used in neuromusic composition Portable Gold and Philosophers’ Stones (Music from Brains in Fours) (1972) built for Medtronic Archive, Museum of Electricity and Life, Minneapolis, MN. 1969-1970 Neurona Company, with William Rouner, Neurona Omnivoila electronic music systems, New York, NY.

Musical Works Works With Scores Available Note: publishers for many of these works include: (Hanover, NH: Frog Peak Music), (London: Boosey & Hawks), (New York: Seesaw Music Corp.), (Sacramento, CA: Composer/Performer Edition), (Toronto: Aesthetic Research Centre of Canada), (Tokyo: Zen-On Music Co.), (Berkeley, CA: Other Music), (Valencia, CA: David Rosenboom Publishing, available online at: http://www.davidrosenboom.com ), and various music journals and periodicals. 2019 Quartet for the Beginning of a Time, string quartet 2018 Battle Hymn of Insurgent Arts, brass quintet, electric rhythm section, singer 2018 Out of Truth (Don’t Motto), variable instrumentation including keyboard, guitar, percussion, electronics, and other instruments 2018 Transformations on Hymn of Change, Disklavier and computer 2017 Fanfare for Evolution Arts, brass quintet, electric rhythm section, vocalist/speaker 2017 Earth Encomium, solo piano 2017 Nothingness is Unstable, solo piano and/or Disklavier and computer/electronics 2017 Earth Encomium, solo piano and/or Diskalvier 2015 Unverifiable Intuitions, solo piano

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2015 The Experiment (from Hopscotch mobile opera for 24 cars), baritone voice, tenor voice, electronics-software performer, 4 brainwave active imaginative listening performers 2015 Hades (from Hopscotch mobile opera for 24 cars), 4 principal voices: soprano, 2 baritones, bass; vocal trio: 2 sopranos, mezzo-soprano; 3 trumpets, 3 percussion 2015 Lucha’s Quinceañera Song (from Hopscotch mobile opera for 24 cars), solo voice, piano/keyboard (may be arranged; arrangement for Mexican instruments has been made by Jerónimo “Jxel” Rajchenberg) 2014 The Accidental Lion, solo piano 2009 AH! opera no opera, with writer, Martine Bellen, for instruments, singers, actors, dancer, live-performance video, interactive media, Internet, and multi- national/multi-cultural/multi-lingual collaborating composer-performer group, A Counterpoint of Tolerance 2007 Kicking Little Shadows, solo piano 2007 Kicking Shadows, solo piano with improvisational components, may be arranged 2006 Tango Secretum, for solo piano, may be arranged 2004 Twilight Language, solo piano 2003 Zones of Coherence, solo or multiple trumpets 2003 On the Seduction of Sapientia, various realizations for stringed instruments, including solo violin, solo viola, solo cello, and violin duet, in process 2002 Shiftless Drifters, duet for glissando instruments 2001 Naked Curvature (Four Memories of the Daimon), whispered chamber opera for instrumental sextet (flute/piccolo, clarinet/bass clarinet, violin, cello, piano/Midi keyboard, and percussion/Midi mallet instrument), whispering voices, sound effects and interactive computer software 2001 Four Lines, multiples of four instruments, various combinations 1999 Attunement, multiple voices (minimum 6) and freely realized harmonies 1998-1999 Mood–When the Ground Screams from Seeing the Small in the Large, chamber orchestra 1998-1999 Seeing the Small in the Large, (Six Movements for Orchestra) 1997-1998 Bell Solaris (Twelve Movements for Piano) Transformations of a Theme, solo piano, some movements have expanded versions with interactive software and computer/electronics 1989 Two Lines, two or more instruments 1987 Champ Vital (Life Field), violin, piano and percussion 1984 Keyboard Study for ‘ZONES,’ computer assisted keyboard instrument 1983-1985 Zones of Influence, for percussion soloist with computer assisted electronic music system, auxiliary keyboard and melodic instrument parts 1979-1982 Daytime Viewing, with Jacqueline Humbert, performance art theater with song stories, narration, fashion show, video, computer graphics, costumes, and sets 1981 Palazzo from Future Travel, variable instrumentation

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1980 In the Beginning V (The Story), chamber orchestra, optional film or video projection and speaking parts 1980 In the Beginning: Etude III (Piano and Two Oranges) 1980 In the Beginning: Etude II (Keyboards – Plucked Strings), two, four, six, or eight players 1980 In the Beginning IV (Electronic), for computer–assisted electronic music system 1979 In the Beginning: Etude I (Trombones), for any number of trombones 1979 In the Beginning III (Quintet), woodwind quintet 1979 In the Beginning II (Song of Endless Light + Sextet), violas and/or cellos, trombone and percussion 1978 In the Beginning I (Electronic), for computer–assisted electronic music system 1980 Lightmotifs, motifs and patterns for improvisation groups 1978 Study for On Being Invisible, for brainwave performer and computer music system 1976-1978 Androgyny, Broke and Blue, Wild About the Lady, Strong Arms, Grand Canyon Heartache, Clear Light, Younger Lady, Oasis in the Air, with Jacqueline Humbert, eight songs for voice and piano with optional subsidiary parts 1973-1974 The Seduction of Sapientia, viola da gamba and electronics, may be arranged for cello and electronics 1974 Chilean Drought, with Jacqueline Humbert, for speaking and chanting voices, brainwave performer, piano and optional percussion 1974 Is Art Is, variable ensembles with keyboard parts, bass lines, rhythms, chords and melody lines 1972 Portable Gold and Philosophers’ Stones (music from brains in fours), brainwave performers and electronics 1972 Patterns for London, keyboards and variable ensembles 1972 Portable Gold and Philosophers’ Stones (music with trills), brainwave performers and electronics 1971 Piano Etude I, two pianos or one piano with delay system, another version for pianist with brainwaves and electronics 1969-1972 How Much Better if Plymouth Rock Had Landed on the Pilgrims, various sections with gradual process melodic, rhythmic, and harmonic materials for creatively constituted variable ensembles 1968 And Come Up Dripping, oboe soloist and electronics 1968 She Loves Me, She Loves Me Not, . . ., a ritualistic theater piece, four–channels of recorded electronic, spoken text, a ceremonial light distribution system, projections, two musician–mimes, sound feedback system, piano, and percussionists 1968 mississippippississm, setting of poem by Emmett Williams for 32 players who speak and play clavés, with recorded sound environment and conductor 1967 Then We Wound Through An Aura of Golden Yellow Gauze, configuration space score, has been arranged for flute, trombone, electric guitar, percussion, and piano/electric harpsichord, two actresses; may be arranged for other ensembles

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1967 To That Predestined Dancing Place, percussion quartet 1966 A Precipice In Time, two percussionists, with a doubled trio of piano–celeste, alto saxophone, and cello parts, four–channel sound rotator 1966 Chart Pieces, graphic scores for any large or small instrumental group 1966 Caliban Upon Setebos (after Robert Browning), chamber orchestra 1966 Trio, clarinet, trumpet, and contrabass 1966 Pocket Pieces, flute, alto saxophone, viola, and percussion 1965 Untitled Little Piano Piece 1965 Dances, jazz or improvisation ensemble 1965 Sextet, string quartet, flute, and bassoon 1965 Movement for Two Pianos 1965 Prelude and Dance Fantastique, symphonic band, 1964 Continental Divide, cyclical gradual process music for variable ensembles, also chamber orchestra version (2001) 1964 Twelve Stories High, jazz band 1964 Six Pieces for Piano 1964 Septet, trumpet, French horn, trombone, violin(s), viola(s), cello(s), piano 1963 Contrasts for Violin and Orchestra

Works Developed Through Interactive Computer-Electronic Media Systems Practice 2015 Portable Gold and Philosophers’ Stones (Deviant Resonances), 2 brainwave active imaginative listening performers and computer/electronics 2014 Ringing Minds, with Tim Mullen and Alexander Khalil, 4 brainwave active imaginative listening performers; brain hyperscanning, POP, and ERP analysis; computer electronics, violin, lithoharp, and visualization video projection 2013 Swarming Intelligence Carnival, live electronics for collaborative spectacle with dance, video and music, with Sardono W. Kusumo, Otto Sidharta and Dwiki Darmawan 2010 Rain Coloring Forest, live electronics for choreography by Sardono W. Kusumo, lighting by Jennifer Tipton, and animation by Maureen Selwood 2005 Imaginary Wave Fields, solo violin and electronic resonators 2005 Hunter/Hunted, eight singers and interactive computer music system, made for dance work choreographed by Tina Yuan 1994-1995 On Being Invisible II (Hypatia Speaks to Jefferson in a Dream), self– organizing, interactive multi–media chamber opera, non-linear narrative for two performers with computer music systems capable of measuring auditory event– related potentials (AERPs) from their brains, two improvising musicians, narrator, computer performer(s), computer–controlled image projection, slide projections, pre–recorded voices, OBI software written in HMSL (Hierarchical Music Specification Language), and real–time digital synthesis system 1992 Lineage, Enactment, Transfiguration and Transference, with Anthony Braxton, MIDI grand piano, responding piano controlled by computer, with sopranino,

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soprano, and alto saxophones, clarinet, and flute and HFG (Hierarchical Form Generator) software 1992 Extended, with Charlie Haden and Trichy Sankaran, two Yamaha Disklavier pianos, pitch follower and event triggers, HFG (Hierarchical Form Generator) computer software, and three computer music systems 1991 Predictions, Confirmations, and Disconfirmations, for soloist with MIDI keyboard or pitch follower, HFG (Hierarchical Form Generator) computer software, and automatically responding instruments 1990 Layagnanam, with Trichy Sankaran, South Indian mrdangam and computer music system 1981 Future Travel, seven pieces realized with computer assisted instruments, piano, violin, percussion, and electronically processed speech; some can be arranged for instruments and electronics: Station Oaxaca, Nazca Liftoff, Corona Dance, Time Arroyo, Desert Night Touch Down, and Nova Wind 1987 Systems of Judgment, seven movements for computer assisted synthesis and processing systems, environmental recordings, keyboards, violin, auxiliary sound objects and sampled sounds 1976-1977 On Being Invisible, self–organizing musical form for soloist with computer assisted brain signal analysis 1973 Vancouver Piece, multi-agent participation, biofeedback arts installation made for Sound Sculpture show at Vancouver Art Gallery, 1970-1971 Ecology of the Skin, biofeedback music and art installation and demonstration-participation-performance event premiered in 1970 at Intermedia Institute, Automation House, New York, NY 1968 Music for Unstable Circuits, second version (+Drums) (1984), third version (+Drums+Trumpet) (2005), fourth version (+Piano) (2018) electronics plus instruments as indicated 1968 URBOUI, music for the play, Ubu Roi, live electronics 1968 Two Pieces for Analog Computer: Music for Unstable Circuits, electronics

Works Developed Through Improvisation Practice 2018 Transformations on Hymn of Change, Disklavier and computer 1978 Epilogue, solo piano 1977-1978 And Out Come the Night Ears, solo piano interfaced with Buchla 300 Series Electronic Box 1976 Keyboard Encounter for Two Pianos and Two Unacquainted Players 1975 19IV75, with J.B. Floyd, two pianos

Performance Art Works 2006 À La Surface / On Surface, (with Geneviève Sabaté-Verseau, Jean De Loisy, and Fabien Rigobert), texts, music and images for performance/installation 1978 Throughout: The Coordinated Effect of Attraction and Repetition on Uncoordinated Presence, (with George Manupelli and Jacqueline Humbert), performance art ensemble

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1977 Thaddeus Cahill, Deceased (or Drums Mark the End), (with G. Manupelli, J. Humbert, M. Moulton, W. Winant, J. Tenney, A. Holloway, M. Byron, and C. Arnoldin), performance art ensemble 1977 There Are Sixteen Hours in a Day, Four Days in a Week, Two Weeks in a Month, Seven Months in a Year, The Rest of the Time is Spent Listening and in Contemplation of Fire, (with George Manupelli), performance art with electronic music and theater 1976 Rain, A Lament for the Peoples of Chile, (with George Manupelli), performance art ensemble with electronic music 1976 The Naked Truth, (with George Manupelli and Michael Byron), performance art ensemble 1967 Electrovoice, one performer, electrodynamic speaker, 110 volts AC 1967 The Brandy of the Damned, solo theater piece with electronic tape 1967 To Whom It May Concern, (with William Youhass), any number of players, narrator, conductor, electronic tape

Works Composed For Recording Media 1995 Brave New World (music for the play), computer music system 1984 Study for ‘ZONES,’ computer controlled MIDI synthesizer ensemble 1982 Musical Intervention 1982, electronic processing based on The Internationale 1979 Musical Intervention 1979, electronic process based on Himno National de Chile 1978 Music for the Movie: ‘Almost Crying,’ (for film by George Manupelli), Buchla 300 Electronic Music System, piano, violins, and trumpets, 1973 Mass, (with Robert Fisher, Diane Roblin, and Martin Backler), (for choreography by Robert Cohan), ARP 2500 synthesizer 1975 Music for the Film: ‘Olympic Gymnastics,’ ,( Canadian television documentary), ARP 2500 synthesizer 1971 Music for the Film: ‘Computer Art,’ (film by Les Mezei,) ARP 2500 synthesizer 1971 Music for the Movie: ‘Red–Yellow–Blue, (film by Stuart Murphy), trumpet, tape delay, Hammond B3 organ, violin, bass, drums, and ARP 2600 synthesizer 1969 Body Music, electronic sounds presented with slides 1969 Two Short Electronic Organ Pieces, Vox electronic organ and Neurona Omnivoila voltage controlled frequency dividers 1968 City Mix, analog computer synthesis 1968 Four Soundings from URBOUI: 1. Pére Facts 2. The Fats of Life 3. Meu–sic 4. Earie, (material recorded during live electronic music performances with Alfred Jarry’s play, Ubu Roi), analog computer, tape delay, and electronic devices 1967-1968 Telluspeep, analog synthesis and tape collage 1966-1967 Music for the Movie, I’ll Be Damned, orchestra and electronic tape collage 1966 Internals, analog synthesis and tape manipulation

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Collective Composition—some collaborators with whom significant repertoire was developed in goup improvisation practice 1987-1970 Challenge, (with Anthony Braxton and William Winant) 1986 The Anthony Braxton Quartet, (with Anthony Braxton, leader/founder, Gerry Hemmingway, and Mark Dresser) 1984 It’s Only Worth Being Strapped In During Take–Off and Landing, (with William Winant) 1975-1979 Maple Sugar, (collective performance art ensemble with Jacqueline Humbert, Mary Moulton, George Manupelli, Michael Byron, Francis Leeming, William Winant, Ann Holloway, James Tenney, Harvey Chao, Jean Moncrieff, and others) 1977-1978 Trio II, (with Michael Byron and William Winant) 1975-1976 Trio I, (with Richard Teitelbaum and Michael Byron) 1974-2011 David Rosenboom and J.B. Floyd, two piano duo 1969-1970 It Takes a Year One Earth To Go Around the Sun, (with Gerald Shapiro), cyclical gradual process music and audience interactive pieces with electronic music 1973-1974 Light II, (with J.B. Floyd, Terry Clarke, Rick Homme, Kathy Moses, and Bruce Pennecook), cross–stylistic improvisation utilizing composed starting points 1972 Light I, (with Jon Hassell, J.B. Floyd, Terry Clarke, and Rick Homme), cross– stylistic improvisation utilizing composed starting points 1969 and 1995 B.C.–A.D., (with Salvatore Martirano), live electronic music with custom–made systems 1969 The Persian Surgery Orchestra, (with , leader/founder; Jon Hassell; and Ed Burnham) 1968-1969 The Electric Ear, (with Anthony Martin and Morton Subotnick), multimedia and music touring 1967-1968 Time and Think Dog!, (with Richard Stanley, Thos. G. McFaul, and Lynn Newton), extended notions of rock–‘n–roll and new music

Other References A sampling of texts by other authors in which Rosenboom’s work appears: 2017 Thompson, Dave. The Avant-garde Woodstock, the International Carnival of Experimental Sound 1972. (UK: David Thompson). 2015 Rousseau, P. Cosa Mentale, Art et Télépathie au XXe Siècle. (France: Gallimard / Centre Pompidou-Metz). 2013 Thompson, Dave. June 1st 1974, Kevin Ayers, John Cale, Nico, Eno, Mike Oldfield and Robert Wyatt: The Greatest Supergroup of the Seventies. (UK: Dave Thompson). 2010 Levine Packer, R. This Life of Sounds. (New York: Oxford University Press, Inc.). 2010 Pickering, A. The Cybernetic Brain: Sketches of Another Future. (: University of Chicago Press, Inc.).

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2011 Austin, Larry, Douglas Kahn and Nilendra Gurusinghe (eds.). Source: Music of the Avant-garde, 1966-1973. (Berkeley, CA: University of California Press). 2009 Carl, R. Terry Riley's In C. (New York: Oxford University Press, Inc.). 2009 Dean, Roger T. The Oxford Handbook of Computer Music (Oxford Handbooks in Music). (Oxford, UK and New York: Oxford University Press). 2008 Sauer, T. Notations 21, An Anthology of Innovative Musical Notation. (New York: Mark Batty Publisher). 2007 Collins, Nick and Julio d’Escrivan. The Cambridge Companion to Electronic Music (Cambridge Companions to Music). (Cambridge, UK and New York: Cambridge University Press). 2007 Emerson, Simon. Living Electronic Music. (Hampshire, UK and Burlington, VT: Ashgate Publishing Company). 2005 Duckworth, William. Virtual Music: How the Web Got Wired for Sound. (Oxon, UK and New York: Routledge). 2005 Schraenen, Guy. Vinyl, Records and Covers by Artists. (Bremen: Neuen Museum Weserburg Bremen and Barcelona: Museu d’Art Contemporani de Barcelona). (Includes Music From Mills album produced by Rosenboom with cover by Jasper Johns.) 2004 Van Cleve, L. Oboe Unbound. (Lanham, MD: Scarecrow Press). (Also contains CD with And Come Up Dripping, new realization of 1969 composition.) 2003 Wilson, Stephen. Information Arts: Intersections of Art, Science, and Technology. (Cambridge, MA: The MIT Press). 1985-2002 Watson, Ben and W.C. Bamberger (ed.). Honestly Is Explosive!: Selected Music Journalism. (Rockville, MD: Wildside Press). 2001 Cope, David. New Directions in Music, Second Edition. (Prospect Heights, IL: Waveland Press, Inc.). 2001 Rowe, Robert. Machine Musicianship. (Cambridge, MA: The MIT Press). 2001 Strange, P. & Strange, A. The contemporary violin. (Berkeley, CA: University of California Press). 2001 Cseres, J. Hudobné simulacrá. (Bratislava, Slovakia: Vydalo Hudobné Centrum, Music Centre Slovakia). 2000 McCarty, Clifford. Film Composers in America. (Oxford, UK and New York, Oxford University Press). 2000 Potter, Keith. Four Musical Minimalists: , Terry Riley, , (Music in the twentieth Century). (Cambridge, UK: Cambridge University Press). 2000 Zorn, J. (ed.). Arcana, musicians on music. (New York: Granary Books/Hips Road). 1998 Ruschkowski, A. Elektronische Klänge und Musikalische Entdeckungen. (Stuttgart, Germany: Philipp Reclam jun. GmbH & Co.) 1999 edition Nyman, Michael. Experimental Music: Cage and Beyond (Music in the twentieth Century). Forward by . (Cambridge, UK and New York: Cambridge University Press).

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1997 Dean, Roger and Hazel Smith. Improvisation Hypermedia and the Arts since 1945 (Performing Arts Studies). (Amsterdam, The Netherlands: Harwood Academic Publishers). 1997 Gann, K. American music in the Twentieth Century. (New York: Schirmer Books). 1996 Chadabe, J. Electric Sound: The Past and Promise of Electronic Music. (New York: Prentice Hall). 1993 Harris, C. (ed.). The Leonardo Almanac, International Resources in Art, Science, and Technology. (Cambridge, MA: The MIT Press). 1993 Radano, Ronald M. New Musical Figurations: Anthony Braxton’s Cultural Critique. (Chicago: University of Chicago Press). 1991 Montaque, Gary. Live Electronics (Contemporary Music Review, Vol 6, Part 1 Book and Tape). (Amsterdam, The Netherlands: Harwood Academic Publishers). In article by Barry Schrader, Live/electro-acoustic music – a perspective from history and California. 1991 Schrader, B. Live/Electro–Acoustic Music – A Perspective from History and California. Contemporary Music Review, 6,1. (Reading, UK: Harwood Academic Publishers). 1989 Roads, C. (ed.). The Music Machine, Selected Readings from the Computer Music Journal. (Cambridge, MA: The MIT Press). 1989 Mathews, M.V. & Pierce, J.R. (Eds.). Current Directions in Computer Music Research. (Cambridge, MA: The MIT Press). 1988 Davis, D.S. Computer Applications in Music, A Bibliography. The Computer Music and Digital Audio Series, 4. (Madison, WI: A–R Editions, Inc.). 1987 Schaefer, J. New Sounds, A Listener's Guide to New Music. (New York: Harper & Row, Pub.). 1987 Boom, M. Music Through MIDI. (Redmond, WA: Microsoft Press). 1983 Strange, A. Electronic music. Second edition. (Dubuque, IA: W.C. Brown Pub.). 1983 Peterson, D. Genesis II: creation and recreation with computers. (Reston, VA: Reston Publishing Co.). 1983 Pellegrino, R. Electronic Arts of Sound and Light. (New York: Van Nostrand Reinhold). 1980 Lucier, A. Chambers. (Middletown, CT: Wesleyan University Press). 1979 McKay, A. Electronic Music. (Oxford: Phaidon). 1978 Encyclopedia of Music in Canada. (Ottawa; National Library). 1977 Cope, D. New Music Composition. (New York: Schirmer Books). 1976 and 1982 Anderson, R. Contemporary American Composers: A Biographical Dictionary. (: G.K. Hall & Co.). 1975 Reynolds, R. Mind Models, New Forms of Musical Experience. (New York: Praeger). 1975 Grayson, J. Sound Sculpture. (Vancouver: Aesthetic Research Centre of Canada). 1975 Appleton, J.H. & Perera, R.C. The Development and Practice of Electronic Music. (Englewood Cliffs, NJ: Prentice–Hall Inc.).

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1974 Nyman, M. Experimental Music: Cage and Beyond. (1974). (London: Cassell & Collier MacMillan Pub.). 1974 Malina, F. Kinetic Art: Theory and Practice. (1974). (New York: Dover). 1974 Buchla, D. Entry on electronic music in Whole Earth Epilogue. (Sausalito, CA: Point). 1973 Trythall, G. Principles and Practice of Electronic Music. (New York: Grosset & Dunlop Pub.). 1973 Ferguson, M. The Brain Revolution. (New York: Taplinger Pub.). 1972 Wilson, H.R., et. al. Growing with Music, vol. 8. (Englewood Cliffs, NJ: Prentice–Hall, Inc.). 1972 Lincoln, H.B. Advances in Computers. (New York: Academic Press). 1972 Lawrence, J. Alpha Brainwaves. (New York: Avon Books). 1972 Karlins, M. & Andrews, L.M. Biofeedback: Turing On The Power of Your Mind. (New York: J.B. Lippincott Pub., Warner Books.) 1972 and revised editions Slonimsky, N. Bakers Biographical Dictionary of Musicians. (New York: G. Schrimer, Inc.). 1971 and subsequent editions Cope, D. New Directions in Music. (Dubuque, IA: Wm. C. Brown Pub.) 1971 and subsequent editions Vinton, J. (ed.). Dictionary of Contemporary Music. (New York: E.P. Dutton & Co., Inc.). 1971 Hunter, R. The Storming of the Mind: Inside the Consciousness Revolution. (Garden City, NY: Doubleday & Co. Inc.). 1971 Grayson, J. Re–Search, vol. 4. (Duncan, B.C.: Center for Gestalt Learning). Who's Who. Rosenboom biographies appear in several international dictionaries and anthologies. Groves Dictionary of Music and Musicians. Oxford, UK: Oxford University Press. And many others…

Examples of Sponsors of Major Presentations Festival of the Arts Today (Buffalo) Contemporary Arts Festival (Univ. of Ill.) Memphis Symphony Quincy Symphony World Youth Symphony (Interlochen, MI) Springfield Symphony (IL) University of Illinois Symphony Watergate Barge (Washington) American University (Washington) Hartford Atheneum New York University Central Pennsylvania Festival of the Arts Today University of Louisiana (Baton Rouge) Syracuse University Crane School of Music (Potsdam, NY)

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Northern Illinois University (Dekalb, IL) Northwestern University Queen's University (Ontario) York University (Toronto) University of Toronto California Institute of the Arts Mills College Department of Music, Center for Contemporary Music, Littlefield Concert Hall (Oakland) And/Or Gallery (Seattle) Portland Center for the Visual Arts Alice Tully Hall Carnegie Recital Hall Kitchen Center (New York) 1750 Arch Street (Berkeley) Dia Art Foundation (New York) Automation House (New York) Columbia University Buffalo State University State University of N.Y. at Buffalo International Carnival of Experimental Sound (London) American Embassies (London, Cologne, Paris) American Cultural Center (Paris) Maeght Foundation Festival (St. Paul de Vence, France) University of Bourges (France) University of Ghent (Belgium) Palais De Beaux Arts (Brussels) Univ Alfa Jazz Festival (Belgium) Musik Hochschüle (Hamburg) Heiner Friedrich Gallery (Cologne, Munich) International Summer Olympics (Munich, Kingston/Montreal) Electric Ear Series, Electric Circus (New York) Audio Engineering Society (New York, Los Angeles) American Association for Computing Machinery (Atlantic City) I.E.E.E. (San Francisco) Oakland Museum 1750 Arch Ensemble (San Francisco, Oakland) International Festival of Weasels (Berkeley, CA) Simon Fraser University (Vancouver) Western Front Society (Vancouver) Music Gallery (Toronto) University of California at San Diego Interlochen Center for the Arts (Michigan) York University Performing Arts Series (Toronto) Commonwealth University (Richmond, Va)

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University of Virginia West German Television L'ORTF (Paris) California State University at Long Beach Gestalt Institute of Canada American Film Institute Conference On the Future of the Arts (with Arthur C. Clark, Northern Illinois University) American Federation of Information Processing Societies American Society of University Composers Conference (Dartmouth College) University of Victoria (Canada) San Jose State University George Peabody Teachers' College (Nashville) Southern Illinois University Rutgers College Illinois State Normal University Bennington College Brown University (Providence) State University of N.Y. at Stony Brook Dayspring (Toronto) New Music Concerts (Toronto) Merce Cunningham Dance Company (New York) CBC Radio And Television Illinois Wesleyan University (Bloomington) University of Glasgow (Scotland) San Francisco Conservatory of Music Agnes Eterington Art Center (Kingston, Ontario) Ann Arbor Film Festival (Michigan) St. Lawrence Hall (Toronto) University of Mexico (Mexico City) College of Mexico (Mexico City) Musée Des Beaux Arts (Montreal) Art Gallery of Ontario (Toronto) New Music Circle (St. Louis) San Francisco Art Institute 80 Langton St. (San Francisco) New Performance Gallery (San Francisco) New Music America '81 (San Francisco) Kunsthalle (Basel, Switzerland) Omeg–Alfa Jazz Club (Belgium) International Festival of Electronic Music, Video And Computer Art (Brussels) Plan K (Brussels) Lewis And Clark College (Portland) New Music Concerts (Santa Cruz)

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Axiom-Axiom (San Francisco) M.U.S.I.C. (San Francisco) Intersection Arts Center (San Francisco) Ontario Science Center (Toronto) University of Miami IRCAM (Paris) Rue Dunois (Paris) Center for Music Experiment at UCSD (La Jolla, CA) Stella Polaris Gallery (Los Angeles) De Saisset Museum, USC (Santa Clara, CA)) New Music America '85 (Los Angeles) Simon Fraser University (Vancouver) International Computer Music Conferences (Urbana, San Diego, New York, Rochester, Paris, Vancouver, Miami) New Music America (Houston, Montreal, Los Angeles, San Francisco) Museum of Modern Art (San Francisco) Exploratorium (San Francisco) Grace Cathedral (San Francisco) North Sea Jazz Festival (Den Hague) Riverside Jazz Club (Antwerpen) Bimhuis (Amsterdam) Circle Jazz Club (Hamburg) Castello Sforzesco ("Jazz A Milano") Quartier Latin (Berlin) Haus Der Kultur Theater (Bolzano, Italy) Festival of New American Music, California State University (Sacramento) June Watanabe Dance Company (Oakland) Bay Area Dance Series (Oakland) Laney College Theatre (Oakland) International Conference On Information Technology Vesper Society Asilomar Conference Center (Monterey) Betty Freeman Musicale, The Music Room (Los Angeles) Banff Centre School of Fine Arts (Alberta, Canada) Los Angeles County Museum of Art, Leo S. Bing Theater and Monday Evening Concerts Macfarland/Whistler Danceart Company (San Francisco) Victoria College for the Arts (Melbourne, Australia) New Performance Gallery (San Francisco) Jazz In the City, Grace Cathedral (San Francisco) Speaking of Music, Exploratorium (San Francisco) Eye Music (UK) Arts Council of Great Britain

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Mappin Art Gallery (Sheffield, UK) Serpentine Gallery (Ondon, UK) Ferens Art Gallery (Hull, UK) Huddersfield Art Gallery (UK) Hatton Gallery (Newcastle, UK) Museum of Modern Art (San Francisco) Diverse Works (Houston) Wahlberg Recital Hall, Fresno State University Alice Theater (Oakland) Green Room, War Memorial Building (San Francisco) University of Utah (Salt Lake City) Apple Computer Inc. First International Symposium On Electronic Art (Utrecht) DNC Exhibition Space (New York) Wesleyan University Center for the Arts Interpretations Series, Merkin Concert Hall, New York Nippon Kan Theater, Soundwork Northwest (Seattle) Society for Jazz and (Santa Barbara) New Music America '90 (Montreal) Los Angeles Philharmonic Under the Green Umbrella, (L.A. Philharmonic New Music Concerts) Japan America Theater, (Los Angeles) Acoustical Society of America (New Orleans) Spring Music Festival, CalArts (Los Angeles) Musical Explorations Series, CalArts (Los Angeles) Scream Festival, California State University at Northridge (Los Angeles) South Bay Chamber Music Society (Los Angeles) Santa Barbara Day of Music Composer–To–Composer (Telluride, CO) Krannert Center, University of Illinois Governor's Conference On the Arts And Technology (California) Electronic Café (Santa Monica) California Institute of Technology (Pasadena) Art Institute of Chicago Atlanta Chamber Players, Georgia State University Recital Hall Zipper Hall at the Colburn School of Performing Arts (Los Angeles) Museum of Contemporary Art (Los Angeles) International Society for Electronic Arts (Utrecht and Chicago) Harvestworks Digital Media Arts (New York) XTET (Los Angeles) Ensemble Green (Los Angeles) Occidental College (Los Angeles) South Bay Chamber Music Society (Los Angeles) Museum of Contemporary Art (Chicago)

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Dorothy Chandler Pavilion (Los Angeles) College of the Canyons (Santa Clarita, CA) Symphony of the Canyons (Santa Clarita, CA) Biofeedback Society of California American Festival of (New York) Orchestra da Camera, Colburn School of Performing Arts (Los Angeles) Idyllwild Arts Symphony Orchestra (Idyllwild, CA) Resistance Fluctuations, New and Unpredictable Music, Wire (Los Angeles) Pusan International Computer Music Festival, Kyung Sung University (Korea) Engine 27, Electronic Music Foundation (New York) Lotus Fine Arts (New York) Getty Center (Los Angeles) World Festival of Sacred Music (Los Angeles) Venice Conservatory of Music "Benedetto Marcello" (Venice, Italy) REDCAT, Roy and Edna Disney CalArts Theatre (Los Angeles) Sounds Like Now, La Mamma Theater (New York) Bienal Internacional de Música Electroacoústica, Universidad Nacional Autónoma de México (Mexico City) University of York (York, England) Royal Scottish Academy of Music and Drama (Glasgow) Werner-Otto-Saal, Konzerhaus (Berlin) Blackheath Halls (London) Central Conservatory of Music (Beijing, China) Dartington Hall, Dartington International Summer School (UK) Walt Disney Concert Hall (Los Angeles) International Indonesian Arts Festivals, Institut Seni Indonesia (Denpasar, Bali) and Institut Kenesian (Jakarta Java) Ballhaus Naunynstraße (Berlin) Comédie de Caen, Centre Dramatique National de Normandie (Caen, France) Le Laboratoire (Paris, France) Palacky University (Czech Republic) Janáčkova Akademie Múzických Umĕní v Brnĕ (Czech Republic) Yamaha Artists Salon (New York) Center for Advanced Musical Studies at Chosen Vale (Enfield, New Hampshire) La Mama Theater (New York) Centre National de Danse Contemporaine (Angers, France) PACT Zollverein, Ruhr Triennale (Essen, Germany) Disney Family Museum (San Francisco) College Art Association (100th Annual Conference, Los Angeles) Hexagram, Matralab, Concordia University (Montreal, Canada) World Culture Forum, GWK Cultural Park, The Lotus Pond (Denpasar, Bali, Indonesia) The Scripps Research Institute & Schwartz Center for Computational Neuroscience, University of California at San Diego University of California at Santa Barbara

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Center for New Music (San Francisco) The Whitney Museum of American Art (New York) The House, Plymouth University (Plymouth, UK) Centre Pompidou-Metz (France) Whitechapel Gallery (London) Tokyo Opera City, Recital Hall (Japan) Open Day Minimalism(s) Festival, Onasis Cultural Center, (Athens, Greece) Los Angeles Computer Music Hangout Haut École de Musique de Genève, Festival Multimod Performer-Composer, Improvisation Festivals/Conferences (Geneva, Switzerland) E.S.P. TV at Pioneer Works (Brooklyn, New York) Fleet Science Center IMAX, AMT (Art Music Technology) Festival, San Diego Art Institute Gray Area Grand Theater, Buchla Memorial Festival (San Francisco) New York Electronic Art Festival at ISSUE Project Room (Brooklyn, New York) ImproTech, IRCAM and Annenberg Center (Philadelphia) Orpheus Institute (Ghent, Belgium) El Centro de Experimentación del Teatro Colón, (Buenos Aires, Argentina) Groupe de Recherches Musicale (GRM) at Le Centquatre-Paris China Conservatory of Music (Beijing) San Francisco Art Institute, Leonardo Convening, Ft. Mason Center Café OTO (London) De Player (Rotterdam) Les Ateliers Claus (Brussels) Indonesia Institute of the Arts (Yogyakarta) Seoul National University MADEIRADiG Festival, (Madeira, Portugal) And many others…

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