"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."

With J.B. Floyd, Terry Clarke, Rick Homme, Kathy Moses, and Bruce Pennecook; cross–stylistic improvisation utilizing composed starting points.

A portable, bioelectronically controlled, electronic sound instrument for museum installation commissioned by the Medtronic Archive, Museum of Electricity and Life, Minneapolis.

[VIDEO LINKS AVAILABLE] [SCORE AVAILABLE FOR DOWNLOAD] Three movements for viola da gamba employing cyclical gradual process techniques and parts in which melodies are drawn from the overtones of the instrument, originally realized with voltage controlled resonators and an envelope follower responding to subtle changes in bow pressure. The work may also be realized with other bowed stringed instruments, particularly the cello, which can use the notation in the original version. (Other instruments may require transpositions.) The electronic parts may also be realized with modern digital or hybrid media.

Film by Bernard Dichek and James Crowe, based on David Rosenboom's piece, Three Day Biofeedback Learning Experience for Brown University, includes performances and music, York University, Toronto, 16mm film, approx. 60 min.

Performance produced by John Grayson and the Vancouver Art Gallery for the CBC, Music to See Series, Vancouver.

ARP 2500 synthesizer, made in collaboration with Robert Fisher, Diane Roblin, and Martin Backler to accompany a dance choreographed by Robert Cohan.

Performance and demonstration with piano, brain signals, and group exercises, CTV network, Toronto.

Japanese translation.
Transonic, 3. (Tokyo: Zen–On Music Co.)

Description of biofeedback installation piece.
In Grayson, J. (ed.). Sound sculpture. (Vancouver: Aesthetic Research Centre of Canada Publications), 128-131.

[PDF AVAILABLE] Book review. Leonardo, 6, 267–268.

Interview for the article by Stephen Dewar. The Globe and Mail. (November 11, 1972). (Toronto).

[SCORE AVAILABLE FOR DOWNLOAD] The score describes instructions for setting up a particular electronics system, computer aided waveform analysis, and a performance paradigm for four brainwave performers.