Works

"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."

Made from material recorded during live electronic music performances with Alfred Jarry’s play, Ubu Roi, directed by Harold Wicke at the State University of New York at Buffalo; part 1 used with 16mm film, Pére Facts, by Robert Lieberman and released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, [cassette]; complete version with all four parts released in digital form on Roundup Two, Selected music with electro-acoustic landscapes, Art Into Life, Japan, 2012, [2-CD set].

Drummer. Columbia CBS Records, 1968.

Analog computer synthesis.

[PDF AVAILABLE FOR DOWNLOAD] The Continuum, I, 3. (Urbana, IL: Association of Independent Composers and Performers).

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,

Interview by Karen Brady. Buffalo Evening News. (March 1, 1968).

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

Interview by Thomas Putnam. Buffalo Courier–Express. (March 3, 1968).

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.

[PDF AVAILABLE FOR DOWNLOAD] (New York: Electric Circus).

Unrealized proposal for a gallery installation, an interactive sculpture which generates a personalized musical score algorithmically after receiving input data from a user.

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