David Rosenboom | Independent Scholar (original) (raw)

Papers by David Rosenboom

Gaceta UNAM (1970-1979), Dec 14, 1978

EL SEMINARIO INTERNACIONAL DE ESTUDIOS EN CREACION MUSICAL Y FUTURO CONCLUYO SUS TRABAJOS EL DIA ... more EL SEMINARIO INTERNACIONAL DE ESTUDIOS EN CREACION MUSICAL Y FUTURO CONCLUYO SUS TRABAJOS EL DIA 8 CON LA DECLARACION DE CLAUSURA A CARGO DEL DOCTOR LEONEL PEREZNIETO CASTRO, COORDINADOR DE HUMANIDADES, QUIEN EXPRESO SU SEGURIDAD SOBRE LA TRASCENDENCIA DEL EVENTO EN LA ESFERA DE LA NUEVA PRODUCCION MUSICAL.

ECHO a journal of music thought and technology, Jul 9, 2021

Universitaire Pers Leuven eBooks, Dec 15, 2021

Leonardo Music Journal, Dec 1, 2020

active imaginative one during which we synthesize multidimensional, endogenous environments in wh... more active imaginative one during which we synthesize multidimensional, endogenous environments in which memory tracings form and are inscribed, making personal times with histories, nows and futures. Plentiful invitations for rich explorations await the reader of this LMJ issue. And, profoundly so, this one challenges us to listen hard—listen to sounds, yes, and also listen to challenging ideas and points of view. As we confront the multilayered forces of change in our current environments, open imaginative reading and listening become important sources of hope and guidance for actions directed at positive evolution. We can imagine ourselves taking on the listening roles of Amazon creatures in Luca Forcucci’s field recordings. Notably, Forcucci’s process includes allowing time for nature to absorb human presence in its midst before recording and invokes deep listening as a fundamental skill. In addition to hearing these captured soundscapes, imagine if we could develop the listening skills of the animals making those sounds while they adapt to the changing forces in their environments. Might this help us understand our own environments better and address the sound pollution surrounding us that dampens our hearing? From this perspective, Forcucci also heightens our awareness of how presentation spaces interact with music creation. The universe of gesture, wherein the origins of language might lie, and where music and dance are undifferentiated and inseparable, is brought to light in Daniel Portelli’s investigations of gestural line and shape in multimodal compositional practice. Portelli explores the transformation of these shapes and how to record and present them as means for generating meaning in multimodal scores. Marco Buongiorno Nardelli’s work on generalized networks is one from which the imagination can spring. This article provides an excellent tutorial on network theory, using commonly understood musical materials. The topic of networks and networking is one of enormous breadth and importance today. It is easy to imagine how a huge range of differentiated entities in perception and conception can be placed at the nodes of such networks in generalized spaces. The tools that may emerge from this realm of music theory can be generalized and applied to endlessly expanding arrays of artistic interactions and human understandings. Though the connections may not be overtly explicit, I am intrigued to speculate on subjects emerging in three papers that involve the dichotomous meanings of subjective and objective, endogenous and exogenous, conceptual and perceptual, sensory and cognitive, continuous and discrete, and in-time versus outside-time. Nora Engebretsen’s paper brings a new approach to timbre in musical analysis that acknowledges both its perceptual and acoustical bases as fundamental. Engebretsen doesn’t directly address the idea of semantics in music but does discuss the conveyance of musical meaning through timbre. This work brings new insights to ways of thinking about timbre and how we internalize its values, beyond scalable acoustic parameters. The notion of perceptual scaling is also forefront in Evelyn Ficarra’s work on time scaling. Through the use of time-lapse techniques—common in visual media, less common in composition, somewhat more known in sound art—they investigate large-scale manipulations of temporal material and how they may be perceived and experienced. A third article by Mark Reybrouck suggests putting all this under a lens of musical experience in a process of ongoing knowledge construction. Several articles concentrate on offering useful new tools. One is a low-cost beat-making, loop-sequencing instrument built with an easy-to-use form factor developed by Andrew R. Brown and John R. Ferguson. (I had the pleasure of trying out this device recently.) Michael Rhoades’s work on holography and holophony brings new techniques to the rapidly evolving field of multidimensional sound diffusion, resonant holophons in multimedia spaces. Rita Torres offers new approaches to composing with resonant guitar multiphonics. Claudio Panariello’s adaptive sound arrays that can react to environmental perturbations, Michael McKnight’s highly developed Extended Reality (XR) techniques for telling stories to multiple listeners and Taylor Brook’s software for cocomposing all add to our collective toolkit, enhancing the agency of now all-important developments in collaborative music and multi-arts realizations. Finally, Neal Spowage’s engaging, sound-making totems remind us about the importance of what I will refer to as organic corporeality in electronic music performance. Spowage also emphasizes the importance of ritual. More soundscape investigations can be found in this LMJ’s special section. Here, they are arranged so as to stimulate reimagining the role of sound as evidence in moral acts that expose the status quo in our environments. Morten introduction

International Computer Music Conference, 1992

International Computer Music Conference, 1975

Computer Music Journal, 1986

Symposium on Computer Music Composition Introduction From the very first research in music compos... more Symposium on Computer Music Composition Introduction From the very first research in music composition with computers carried out by Lejaren Hiller and his associates in the mid-1950s, the computer has offered enormous potential to the composer. Computers are among the most malleable tools ever developed by human beings, and in the three decades since that early research, many hundreds of composers have adapted computers to their own musical needs. Articles in Computer Music Journal and other publications' point to the broad application of computers in musical tasks, especially to sound synthesis, live performance, and algorithmic or procedural composition. This symposium is the product of a questionnaire sent in 1982, 1983, and 1984 to over 30 composers experienced in the computer medium. The questionnaire contained 21 questions. Composers were asked to respond to at least five of them. The composers were also invited to submit scores and other graphics that describe their work. These fourteen composers responded to the challenge:

International Computer Music Conference, 1985

Leonardo, 1987

Six musicians give brief artists’ statements on the theme “The Future of Music”.

Frontiers research topics, 2020

This eBook is a collection of articles from a Frontiers Research Topic. Frontiers Research Topics... more This eBook is a collection of articles from a Frontiers Research Topic. Frontiers Research Topics are very popular trademarks of the Frontiers Journals Series: they are collections of at least ten articles, all centered on a particular subject. With their unique mix of varied contributions from Original Research to Review Articles, Frontiers Research Topics unify the most influential researchers, the latest key findings and historical advances in a hot research area! Find out more on how to host your own Frontiers Research Topic or contribute to one as an author by contacting the Frontiers Editorial Office: frontiersin.org/about/contac

Computer Music Journal, 1983

The JSTOR Archive is a trusted digital repository providing for long-term preservation and access... more The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact

Gaming media and social effects, 2015

Single- and multi-agent installations and performances that use physiological signals to establis... more Single- and multi-agent installations and performances that use physiological signals to establish an interface between music and mental states can be found as early as the mid-1960s. Among these works, many have used physiological signals (or inferred cognitive, sensorimotor or affective states) as media for music generation and creative expression. To a lesser extent, some have been developed to illustrate and study effects of music on the brain. Historically, installations designed for a single participant are most prevalent. Less common are installations that invite participation and interaction between multiple individuals. Implementing such multi-agent installations raises unique challenges, but also unique possibilities for social interaction. Advances in unobtrusive and/or mobile devices for physiological data acquisition and signal processing, as well as computational methods for inferring mental states from such data, have expanded the possibilities for real-world, multi-agent, brain–music interfaces. In this chapter, we examine a diverse selection of playful and social installations and performances, which explore relationships between music and the brain and have featured publically in Mainly Mozart’s annual Mozart & the Mind (MATM) festival in San Diego. Several of these installations leverage neurotechnology (typically novel wearable devices) to infer brain states of participants. However, we also consider installations that solely measure behavior as a means of inferring cognitive state or to illustrate a principle of brain function. In addition to brief overviews of implementation details, we consider ways in which such installations can be useful vehicles, not only for creative expression, but also for education, social interaction, therapeutic intervention, scientific and aesthetic research, and as playful vehicles for exploring human–human and human–machine interaction.

Frontiers in Neuroscience, Mar 17, 2023

Annals of the New York Academy of Sciences, Nov 1, 2003

Leonardo, 1972

The author discusses his attitudes to music and the possible impact on it of technological develo... more The author discusses his attitudes to music and the possible impact on it of technological developments. He describes the work he has done to apply the EEG Alpha brain-wave monitoring technique to a group encounter performance system for producing sounds by the conscious control of the character of the Alpha brain waves. This system can also be used at present for producing the flashing of lights. Questions posed by an audience after an informal talk on the subject by the author and his replies are included at the end of the text. L’auteur expose ce qu’il pense de la musique et de la possible influence des développements technologiques sur elle. Il décrit les expériences qu’il a faites pour appliquer à un groupe d’individus la technique de contrôle des ondes Alpha du cerveau à l’aide d’électroencéphalogrammes, dans le but de produire des sons grâce à la maîtrise consciente par chaque sujet de la nature de ses ondes Alpha. Ce Système peut aussi être utilisé à l’heure actuelle pour produire des éclairs lumineux. Des questions posées à l’auteur par des interlocuteurs au cours d’une discussion sur ce sujet et les réponses qu’il a données sont rapportées à la fin du texte.

Computer Music Journal, 1990

... On the occurrence of an initiator-ie, a prediction concomitant with a successful measure of a... more ... On the occurrence of an initiator-ie, a prediction concomitant with a successful measure of attention shift as seen in the EEG analysis-T would be set equal to D(init), the difference function value ... Simple melody MIDI note numbers = 173, 68, 73, 71, 69, 68, 73, 68, 68, 731 a a a a ...

Journal of the Acoustical Society of America, Oct 1, 1992

Leonardo, 1997

In Part I of this article," Essays, Propositions and Commentaries," published in Leonar... more In Part I of this article," Essays, Propositions and Commentaries," published in Leonardo Volume 30, Number 4 (1997), a point of view about creative music making termed" propositional music" was described. This method of composing involves proposing ...

Gaceta UNAM (1970-1979), Dec 14, 1978

EL SEMINARIO INTERNACIONAL DE ESTUDIOS EN CREACION MUSICAL Y FUTURO CONCLUYO SUS TRABAJOS EL DIA ... more EL SEMINARIO INTERNACIONAL DE ESTUDIOS EN CREACION MUSICAL Y FUTURO CONCLUYO SUS TRABAJOS EL DIA 8 CON LA DECLARACION DE CLAUSURA A CARGO DEL DOCTOR LEONEL PEREZNIETO CASTRO, COORDINADOR DE HUMANIDADES, QUIEN EXPRESO SU SEGURIDAD SOBRE LA TRASCENDENCIA DEL EVENTO EN LA ESFERA DE LA NUEVA PRODUCCION MUSICAL.

ECHO a journal of music thought and technology, Jul 9, 2021

Universitaire Pers Leuven eBooks, Dec 15, 2021

Leonardo Music Journal, Dec 1, 2020

active imaginative one during which we synthesize multidimensional, endogenous environments in wh... more active imaginative one during which we synthesize multidimensional, endogenous environments in which memory tracings form and are inscribed, making personal times with histories, nows and futures. Plentiful invitations for rich explorations await the reader of this LMJ issue. And, profoundly so, this one challenges us to listen hard—listen to sounds, yes, and also listen to challenging ideas and points of view. As we confront the multilayered forces of change in our current environments, open imaginative reading and listening become important sources of hope and guidance for actions directed at positive evolution. We can imagine ourselves taking on the listening roles of Amazon creatures in Luca Forcucci’s field recordings. Notably, Forcucci’s process includes allowing time for nature to absorb human presence in its midst before recording and invokes deep listening as a fundamental skill. In addition to hearing these captured soundscapes, imagine if we could develop the listening skills of the animals making those sounds while they adapt to the changing forces in their environments. Might this help us understand our own environments better and address the sound pollution surrounding us that dampens our hearing? From this perspective, Forcucci also heightens our awareness of how presentation spaces interact with music creation. The universe of gesture, wherein the origins of language might lie, and where music and dance are undifferentiated and inseparable, is brought to light in Daniel Portelli’s investigations of gestural line and shape in multimodal compositional practice. Portelli explores the transformation of these shapes and how to record and present them as means for generating meaning in multimodal scores. Marco Buongiorno Nardelli’s work on generalized networks is one from which the imagination can spring. This article provides an excellent tutorial on network theory, using commonly understood musical materials. The topic of networks and networking is one of enormous breadth and importance today. It is easy to imagine how a huge range of differentiated entities in perception and conception can be placed at the nodes of such networks in generalized spaces. The tools that may emerge from this realm of music theory can be generalized and applied to endlessly expanding arrays of artistic interactions and human understandings. Though the connections may not be overtly explicit, I am intrigued to speculate on subjects emerging in three papers that involve the dichotomous meanings of subjective and objective, endogenous and exogenous, conceptual and perceptual, sensory and cognitive, continuous and discrete, and in-time versus outside-time. Nora Engebretsen’s paper brings a new approach to timbre in musical analysis that acknowledges both its perceptual and acoustical bases as fundamental. Engebretsen doesn’t directly address the idea of semantics in music but does discuss the conveyance of musical meaning through timbre. This work brings new insights to ways of thinking about timbre and how we internalize its values, beyond scalable acoustic parameters. The notion of perceptual scaling is also forefront in Evelyn Ficarra’s work on time scaling. Through the use of time-lapse techniques—common in visual media, less common in composition, somewhat more known in sound art—they investigate large-scale manipulations of temporal material and how they may be perceived and experienced. A third article by Mark Reybrouck suggests putting all this under a lens of musical experience in a process of ongoing knowledge construction. Several articles concentrate on offering useful new tools. One is a low-cost beat-making, loop-sequencing instrument built with an easy-to-use form factor developed by Andrew R. Brown and John R. Ferguson. (I had the pleasure of trying out this device recently.) Michael Rhoades’s work on holography and holophony brings new techniques to the rapidly evolving field of multidimensional sound diffusion, resonant holophons in multimedia spaces. Rita Torres offers new approaches to composing with resonant guitar multiphonics. Claudio Panariello’s adaptive sound arrays that can react to environmental perturbations, Michael McKnight’s highly developed Extended Reality (XR) techniques for telling stories to multiple listeners and Taylor Brook’s software for cocomposing all add to our collective toolkit, enhancing the agency of now all-important developments in collaborative music and multi-arts realizations. Finally, Neal Spowage’s engaging, sound-making totems remind us about the importance of what I will refer to as organic corporeality in electronic music performance. Spowage also emphasizes the importance of ritual. More soundscape investigations can be found in this LMJ’s special section. Here, they are arranged so as to stimulate reimagining the role of sound as evidence in moral acts that expose the status quo in our environments. Morten introduction

International Computer Music Conference, 1992

International Computer Music Conference, 1975

Computer Music Journal, 1986

Symposium on Computer Music Composition Introduction From the very first research in music compos... more Symposium on Computer Music Composition Introduction From the very first research in music composition with computers carried out by Lejaren Hiller and his associates in the mid-1950s, the computer has offered enormous potential to the composer. Computers are among the most malleable tools ever developed by human beings, and in the three decades since that early research, many hundreds of composers have adapted computers to their own musical needs. Articles in Computer Music Journal and other publications' point to the broad application of computers in musical tasks, especially to sound synthesis, live performance, and algorithmic or procedural composition. This symposium is the product of a questionnaire sent in 1982, 1983, and 1984 to over 30 composers experienced in the computer medium. The questionnaire contained 21 questions. Composers were asked to respond to at least five of them. The composers were also invited to submit scores and other graphics that describe their work. These fourteen composers responded to the challenge:

International Computer Music Conference, 1985

Leonardo, 1987

Six musicians give brief artists’ statements on the theme “The Future of Music”.

Frontiers research topics, 2020

This eBook is a collection of articles from a Frontiers Research Topic. Frontiers Research Topics... more This eBook is a collection of articles from a Frontiers Research Topic. Frontiers Research Topics are very popular trademarks of the Frontiers Journals Series: they are collections of at least ten articles, all centered on a particular subject. With their unique mix of varied contributions from Original Research to Review Articles, Frontiers Research Topics unify the most influential researchers, the latest key findings and historical advances in a hot research area! Find out more on how to host your own Frontiers Research Topic or contribute to one as an author by contacting the Frontiers Editorial Office: frontiersin.org/about/contac

Computer Music Journal, 1983

The JSTOR Archive is a trusted digital repository providing for long-term preservation and access... more The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact

Gaming media and social effects, 2015

Single- and multi-agent installations and performances that use physiological signals to establis... more Single- and multi-agent installations and performances that use physiological signals to establish an interface between music and mental states can be found as early as the mid-1960s. Among these works, many have used physiological signals (or inferred cognitive, sensorimotor or affective states) as media for music generation and creative expression. To a lesser extent, some have been developed to illustrate and study effects of music on the brain. Historically, installations designed for a single participant are most prevalent. Less common are installations that invite participation and interaction between multiple individuals. Implementing such multi-agent installations raises unique challenges, but also unique possibilities for social interaction. Advances in unobtrusive and/or mobile devices for physiological data acquisition and signal processing, as well as computational methods for inferring mental states from such data, have expanded the possibilities for real-world, multi-agent, brain–music interfaces. In this chapter, we examine a diverse selection of playful and social installations and performances, which explore relationships between music and the brain and have featured publically in Mainly Mozart’s annual Mozart & the Mind (MATM) festival in San Diego. Several of these installations leverage neurotechnology (typically novel wearable devices) to infer brain states of participants. However, we also consider installations that solely measure behavior as a means of inferring cognitive state or to illustrate a principle of brain function. In addition to brief overviews of implementation details, we consider ways in which such installations can be useful vehicles, not only for creative expression, but also for education, social interaction, therapeutic intervention, scientific and aesthetic research, and as playful vehicles for exploring human–human and human–machine interaction.

Frontiers in Neuroscience, Mar 17, 2023

Annals of the New York Academy of Sciences, Nov 1, 2003

Leonardo, 1972

The author discusses his attitudes to music and the possible impact on it of technological develo... more The author discusses his attitudes to music and the possible impact on it of technological developments. He describes the work he has done to apply the EEG Alpha brain-wave monitoring technique to a group encounter performance system for producing sounds by the conscious control of the character of the Alpha brain waves. This system can also be used at present for producing the flashing of lights. Questions posed by an audience after an informal talk on the subject by the author and his replies are included at the end of the text. L’auteur expose ce qu’il pense de la musique et de la possible influence des développements technologiques sur elle. Il décrit les expériences qu’il a faites pour appliquer à un groupe d’individus la technique de contrôle des ondes Alpha du cerveau à l’aide d’électroencéphalogrammes, dans le but de produire des sons grâce à la maîtrise consciente par chaque sujet de la nature de ses ondes Alpha. Ce Système peut aussi être utilisé à l’heure actuelle pour produire des éclairs lumineux. Des questions posées à l’auteur par des interlocuteurs au cours d’une discussion sur ce sujet et les réponses qu’il a données sont rapportées à la fin du texte.

Computer Music Journal, 1990

... On the occurrence of an initiator-ie, a prediction concomitant with a successful measure of a... more ... On the occurrence of an initiator-ie, a prediction concomitant with a successful measure of attention shift as seen in the EEG analysis-T would be set equal to D(init), the difference function value ... Simple melody MIDI note numbers = 173, 68, 73, 71, 69, 68, 73, 68, 68, 731 a a a a ...

Journal of the Acoustical Society of America, Oct 1, 1992

Leonardo, 1997

In Part I of this article," Essays, Propositions and Commentaries," published in Leonar... more In Part I of this article," Essays, Propositions and Commentaries," published in Leonardo Volume 30, Number 4 (1997), a point of view about creative music making termed" propositional music" was described. This method of composing involves proposing ...

Materials in each series are arranged either chronologically or thematically depending on the con... more Materials in each series are arranged either chronologically or thematically depending on the continuity, scale and interrelationship of particular projects.

Time Think Dog Time / Think Dog! 1967-1969. Through these years David Rosenboom was a percussioni... more Time Think Dog Time / Think Dog! 1967-1969. Through these years David Rosenboom was a percussionist in the experimental rock group Time, later renamed as Think Dog! He co-founded Time in 1967 with his fellows from Urbana, Lynn Newton, and Tom McFaul. In 1968 the group moved to Buffalo following Rosenboom's departure from UIUC to join the Center for Creative and Performing Arts. at SUNY Buffalo, directed by Lukas Foss and Allen Sapp. Complemented by the guitar player Richard Stanley, the group recorded their debut album "Before There Was Time" (1968) that mixed rock-n-roll influences with features of new music. Moving to New York in 1969, Rosenboom, who played percussion, left the group, recording with the band only one track that was later included in the second album "THINK DOG-Dog Days" that compiled recordings made in 1969-70. "Before There Was…TIME" album cover-(released both on vinyl and CD). David Rosenboom with drum set in his rooming house in Urbana, IL "Before There Was…TIME" album cover back showing track listing "Before There Was…TIME" Side B label. "THINK DOG-Dog Days" album image David Rosenboom wearing keyboard tuxedo by Jacqueline Humbert Dave Charles, Rosy Dawn and the Vi-Breasts