LIST OF MUSICAL WORKS (from 1963)
(listed chronologically within categories)

Latest update: December 22, 2007

MUSICAL WORKS WITH SCORES AVAILABLE
 

Contrasts for Violin and Orchestra (1963) two movements for solo violin and full orchestra, violin and piano version also available, intermediate to advanced level, from Youthful Music Series

Septet (1964) for trumpet, French horn, trombone, violin(s), viola(s), cello(s), piano, intermediate level, from Youthful Music Series

Six Pieces for Piano (1964) intermediate level, from Youthful Music Series, Frog Peak Music, Hanover, NH, Hanover, NH

Twelve Stories High (1964) for jazz band (4 trumpets, 4 trombones, 5 saxophones, rhythm section), easy to intermediate level, from Youthful Music Series

Continental Divide (1964) and (2001) cyclical gradual process music for variable ensembles in two versions: 1) original single–page score for keyboard(s) and/or mallet percussion, 2) arrangement for chamber orchestra with flexibility in numbers of winds, brass, keyboards/percussion, and strings, Frog Peak Music, Hanover, NH, Hanover, NH

Prelude and Dance Fantastique (1965) for symphonic band, intermediate to advanced level, from Youthful Music Series

Movement for Two Pianos (1965) advanced level, from Youthful Music Series, in Music for Keyboard Instruments and Improvisation Groups, Frog Peak Music, Hanover, NH

Sextet (1965) five movements for string quartet, flute, and bassoon, advanced level, from Youthful Music Series

Dances (1965) one–page score for jazz or improvisation ensemble, in Collected Scores, Frog Peak Music, Hanover, NH

Untitled Little Piano Piece (1965) easy level, from Youthful Music Series, Frog Peak Music, Hanover, NH

Pocket Pieces (1966) three movements for flute, alto saxophone, viola, and percussion, Seesaw Music Corp., New York, and in Collected Scores, Frog Peak Music, Hanover, NH

Trio (1966) short piece for clarinet, trumpet, and contrabass, Seesaw Music Corp., New York, and in Collected Scores, Frog Peak Music, Hanover, NH

Caliban Upon Setebos (after Robert Browning) (1966) chamber orchestra (flute, flute/piccolo, oboe, English horn, clarinet, alto saxophone, bass clarinet, bassoon, 2 French horns, trumpet, cornet, tenor trombone, bass trombone, timpani, percussion, piano, strings), Seesaw Music Corp., New York and in Collected Scores, Frog Peak Music, Hanover, NH

Chart Pieces (1966) several pages of graphic scores for any large or small instrumental group, in Collected Scores, Frog Peak Music, Hanover, NH

A Precipice In Time (1966) for two percussionists, with a doubled trio of piano–celeste, alto saxophone, and cello parts, four–channel sound rotator with speakers around the audience, and the doubled trio realized either by pre–recording the doubled parts using a second remotely located trio with microphones, or by digitally re–synthesizing the instruments; can be performed by five players with optional conductor; players read from score, Frog Peak Music, Hanover, NH; recorded in the Center for Contemporary Music at Mills College and released on The Virtuoso in the Computer Age, Centaur Records, Inc., Consortium to Distribute Computer Music Series, Vol. 10, CRC 2110, , Baton Rouge, LA, 1991, CD

To That Predestined Dancing Place (1967) three movements for percussion quartet with theatrical elements, Seesaw Music Corp., New York, and in Collected Scores, Frog Peak Music, Hanover, NH

Then We Wound Through An Aura of Golden Yellow Gauze (1967) a large circular score with constellations of graphics figures and a transparent overlay that can be rotated giving road maps for various ways to traverse the configuration space of symbols; dictionaries interpreting the symbols have been written for flute, trombone, electric guitar, percussion, and piano/electric harpsichord; other versions can be constructed for different ensembles; texts in several sections for two actresses, accompanied by rules for traveling through the symbols corresponding to each section, are included; many versions with or without the texts may be arranged; a smaller version of the circular score with a set of example instructions are included in Collected Scores, Frog Peak Music, Hanover, NH

mississippippississm (1968) setting of the poem by Emmett Williams for 32 players who both speak and play clavés, optional recorded sound environment, and conductor, in Collected Scores, Frog Peak Music, Hanover, NH

She Loves Me, She Loves Me Not, . . . (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, in Collected Scores, Frog Peak Music, Hanover, NH

And Come Up Dripping (1968) for oboe soloist and electronics originally realized with analog computer signal processing and multi–channel tape delay system; alternative versions have been realized by means of digital signal processing with computer software, and an alternative version has been made for vocal soloist and electronics, originally published in Source, Issue No. 6, Composer/Performer Edition, Sacramento, CA, also included in Collected Scores, Frog Peak Music, Hanover, NH; first recording with Lawrence Singer, oboe, released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette; second recording utilizing digital signal processing with oboist, Libby Van Cleve, made to accompany her book on extended oboe techniques, Oboe Unbound, Scarecrow Press, Lanham, MD, 2004, CD; excerpt of first recording used by Triton Records for inclusion in Growing With Music, Vol. 8, Wilson, H.R., et. al., also includes score excerpt, Prentice–Hall, Inc., Englewood Cliffs, NJ, 1972, book with record

How Much Better if Plymouth Rock Had Landed on the Pilgrims (1969–72) various sections with gradual process melodic, rhythmic, and harmonic materials for creatively constituted variable ensembles, which may include keyboards, plucked, or percussion instruments, instruments in Just intonation, winds, brass, strings, computer assisted electronic or electroacoustic instruments, birds, and outdoor environments; some of the scored materials are included in Music for Keyboard Instruments and Improvisation Groups, Frog Peak Music, Hanover, NH, a recording of one section released on Rosenboom and Buchla: Collaboration in Performance, 1750 Arch Records, S–1774, Berkeley, CA, 1978, LP

Piano Etude I (1971) two pianos playing patterns in fast, note–by–note alternation with each other, or one piano with head–gap tape delay at 7 1/2 ips or equivalent short delay; score is included in Biofeedback and the Arts, Aesthetic Research Centre of Canada, Vancouver, 1975 and Music for Keyboard Instruments and Improvisation Groups, both distributed by Frog Peak Music, Hanover, NH; a recorded version accompanied by brainwave–controlled filtering of the piano sound that is synchronized with the alpha brainwaves of the performer was released on Brainwave Music, Aesthetic Research Centre of Canada, ST1002, Toronto, 1976 LP

Portable Gold and Philosophers’ Stones (music with trills) (1972) score describes instructions for setting up a particular electronics system and a performance paradigm for one or two brainwave performers, included in Biofeedback and the Arts, Aesthetic Research Centre of Canada, Vancouver, 1975, available from Frog Peak Music, Hanover, NH

Patterns for London (1972) three movements, each containing patterns outlining musical materials intended to articulate an improvisational landscape, notated as if for keyboards but appropriate for a wide variety of ensemble instrumentations; a version for two pianos was released on Suitable for Framing, Aesthetic Research Centre of Canada, ST1000, Toronto, LP 1975; score included in Music for Keyboards and Improvisation Groups, Frog Peak Music, Hanover, NH

Portable Gold and Philosophers’ Stones (music from brains in fours) (1972) score describes instructions for setting up a particular electronics system, computer aided waveform analysis, and a performance paradigm for four brainwave performers, in Biofeedback and the Arts, Aesthetic Research Centre of Canada, Vancouver, 1975, available from Frog Peak Music, Hanover, NH; Japanese translation published in Transonic, Vol. 4, Zen–On Music Co., Tokyo, 1973

Is Art Is (1974) score for variable ensembles with keyboard parts, bass lines, rhythms, chords, and melody lines, involving patterns with improvisation and a gradual process middle section; a version for two pianos and mrdangam was released on Suitable for Framing, Aesthetic Research Centre of Canada, ST1000, Toronto, 1975 LP; score included in Music for Keyboard Instruments and Improvisation Groups, Frog Peak Music, Hanover, NH

Chilean Drought (1974) with Jacqueline Humbert, for speaking and chanting voices that may be pre–recorded, piano, electronics, brainwave performer, and optional percussion; recording released on Brainwave Music, Aesthetic Research Centre of Canada, ST1002, Toronto, 1976, LP; score included in the book, Biofeedback and the Arts, Aesthetic Research Centre of Canada, Vancouver, 1975, available from Frog Peak Music, Hanover, NH

The Seduction of Sapientia (1973–4) 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; may be realized by other means as well; recording released on The Contemporary Viola da Gamba, Music Gallery Editions, MGE–7, Toronto, 1977, LP; score included in Byron, M. (ed.), Pieces, and Collected Scores, Frog Peak Music, Hanover, NH

Androgyny, Broke and Blue, Wild About the Lady, Strong Arms, Grand Canyon Heartache, Clear Light, Younger Lady, Oasis in the Air (1976–8) with Jacqueline Humbert, eight songs for voice and piano with optional subsidiary parts; recording of all except Oasis in the Air released on J. Jasmine…My New Music, Chez Hum–Boom Publishing and Aesthetic Research Centre of Canada, DR001, Toronto, 1978, LP; scores for all contained in The J. Jasmine Songbook, Chez Hum–Boom Publishing, Santa Clarita, CA, 1978, available from Frog Peak Music, Hanover, NH; video documentation of a performance, Western Front Video, Vancouver, 1978; second version of Oasis in the Air included on Chanteuse, Lovely Music, Ltd., New York, CD, in process

Study for On Being Invisible, (1978) for brainwave performer and computer music system, score included in the monograph, Extended Musical Interface with the Human Nervous System, Leonardo Monograph No. 1, ISAST, International Society for the Arts, Sciences, and Technology, Berkeley, CA, 1990; revised version (1997) available through Leonardo Electronic Alamanac, Electronic Monographs. [PDF 2.2 MB version available here.]
view monograph PDF

Lightmotifs (1980) a collection of motifs and patterns for use in improvisation by any groups or soloists, in Music for Keyboard Instruments and Improvisation Groups, Frog Peak Music, Hanover, NH

 
In the Beginning Series

In the Beginning I (Electronic) (1978) for computer–assisted electronic music system; explores a particular harmonic and rhythmic language derived from arrangements of harmonic and sub–harmonic proportions; originally realized with Buchla 300 Electronic Music System; recording released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette; score outlining musical materials and computer program in the Patch IV language included in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning II (Quartet) (1979) for three instrumentation groups: 1) four cellos, trombone, and percussion; 2) two cellos, two violas, trombone, and percussion; 3) viola, cello, trombone, and percussion; explores a similar harmonic and rhythmic language, adds a free melismatic song with shaped ornamentation, and employs stochastic evolution techniques; score included in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning III (Quintet) (1979) for woodwind quintet; continues exploring the particular harmonic and rhythmic language with stochastic evolution and adds a melodic contour language with tonal and complex chromatic arpeggios; score included in Soundings, No. 14–15, Soundings Press, Santa Fe, 1986, and in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning: Etude I (Trombones) (1979) for any number of trombones with sustained tone and short note, stochastic parts; explores a similar harmonic language with both fixed and partly open notation and a ratio tuning system; recording released on Music From Mills, Mills College, Oakland, 1986, three–record anthology available from Frog Peak Music, Hanover, NH; score included in 1/1: The Quarterly Journal Of The Just Intonation Society, Other Music, Vol. 1, No. 2, Berkeley, 1985, and in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning IV (Electronic) (1980) for computer–assisted electronic music system; explores a similar harmonic, rhythmic, and melodic contour language with an interactive software/hardware performance system; originally realized with Buchla 300 Electronic Music System in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning: Etude II (Keyboards/Mallets/Harps) (1980) for two, four, six, or eight players; any instruments capable of distinct attacks may be used; gradual process materials exploring a similar melodic contour language in multiple tonalities; recording made with Touché electronic keyboard instrument for National Public Radio, 1981; score published in Perspectives of New Music, Vol. 25, Nos. 1 & 2, 1987, pp. 564–566 and included in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning: Etude III (Piano and Two Oranges) (1980) graphic score for piano involving precise gesture shapes and rhythmic structures played by rolling round objects on the keyboard; score published in Perspectives of New Music, Vol. 25, Nos. 1 & 2, 1987, pp. 567–568 and included in In the Beginning, Frog Peak Music, Hanover, NH

In the Beginning V (The Story) (1980) for chamber orchestra with a minimum of 16 players in four quartets, instruments specified by range: woodwinds (two high, one medium, one low), brass (two high, two low), keyboards and percussion (two of each), and strings (two high, two low); may be played alone or with accompanying film or video projection and three speaking parts, which may be realized live or pre–recorded with real or synthetic speech; combines most of the harmonic, rhythmic, and melodic contour techniques of the In the Beginning series of pieces; score included in In the Beginning, Frog Peak Music, Hanover, NH; score excerpt published in Rampike, Vol. 2, Nos. 1 & 2, Toronto, 1982
 

Palazzo from Future Travel (1981) for variable instrumentation; one of seven free–form pieces developed for the Future Travel collection and derived from the In the Beginning system of harmonies and melodies; score contains cyclical rhythmic and harmonic patterns to support melodic improvisation, in Music for Keyboard Instruments and Improvisation Groups, Frog Peak Music, Hanover, NH, Hanover, NH

Daytime Viewing (1979–82) collaborative work initiated by Jacqueline Humbert, performance art theater with song stories, narration, fashion show, video, computer graphics, costumes, and sets, includes the songs, Talk 1, Bareback, Domestic Violence, Distant Space, Talk 2, and Wishes, piano–vocal scores for individual pieces are available; recording made in the Mills College Center for Contemporary Music with voice, electronic orchestrations, and auxiliary instruments released by Chez Hum–Boom Publications, Piedmont/Santa Clarita, CA, cassette

Zones of Influence (1983–5) for percussion soloist with computer assisted electronic music system, auxiliary keyboard and melodic instrument parts used in some parts; five parts entitled, I. The Winding of a Spring, II. Closed Attracting Trajectories, III. Given the Senses the Real Pregeometry, IV. Epigenesis, Ontogenesis, Phylogenesis, Parthenogenesis, and V. The Buckling of a Spring; inspired by models of morphogenesis, parametric shape mutation, catastrophe theory, and morphological evolution, realized with real–time composition and performance algorithms; concert recording of part I released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette; new CD recording currently in process; score publication currently in process

Keyboard Study for ‘ZONES’ (1984) melodic materials derived from the techniques of Zones of Influence for elaboration through improvisation with computer assisted keyboard instrument

Champ Vital (Life Field) (1987) trio for violin, piano, and percussion; introduction, hidden theme, and set of 25 transformations on the theme; employs melodic shape mutation techniques orchestrated with extended, rhythmic hockets among the parts; inspired by ideas of morphogenesis and evolution, Frog Peak Music, Hanover, NH

Two Lines (1989) long, single line to be played by two or more instruments with optional auxiliary parts for variable chamber ensemble; scores in several transpositions and for non–pitched percussion also included, explores ideas about stability and instability, superimposing multiple simultaneous interpretations, and adventurous musical sportsmanship, Frog Peak Music, Hanover, NH; recording released on Two Lines, Lovely Music, Ltd., LCD 3071, New York, 1995, CD

Bell Solaris (Twelve Movements for Piano) Transformations of a Theme (1997–98) for piano soloist; movements entitled, I. Fanfare for the Sun, II. In Contemplation of Transformation, III. The Right Measure of Opposites, IV. Phaeton Reaches for the Speed of Light, V. Daphne Nods in Consent, VI. Argus’s Eyes See the Code of Small and Large, VII. Callisto and Arcas in the Stars, VIII. The Cost of the Gift of Prophecy–Ocyrhoe’s Forfeiture, IX. Raven’s Wings Telling Tales, X. Hymn of Change, XI. Transformation Canon–For Pythagorus, and XII. Coda–The Past is Determined by the Impermanence of Perfect Memory; employs shape transformation counterpoint language applied to melodies, rhythms, and harmonic spaces; transformations are applied to a waltz hymn appearing only in the tenth movement ; sixth movement involves modular construction of twelve lines that may be combined and sampled in various ways; unspoken texts suggesting transformed mythological ideas are imbedded in the score, Frog Peak Music, Hanover, NH

Seeing the Small in the Large, (Six Movements for Orchestra) (1998–99) for full orchestra; always transforming and evolving musical shapes are arranged to create a rich counterpoint language; sixteen themes and their mutations appear in six movements set against the background of an anchor theme like rocks in a Zen garden; movements entitled, I. Melody–A Luminous Calm (Prologue), II. Idea–Seeing Mountains Through Spiders’ Webs, III. Nature–Growing Sounds, IV. Mood–When the Ground Screams, V. Spirit–Dragon Veins, and VI. Melody–As if in Clouds (Epilogue), Frog Peak Music, Hanover, NH

Mood–When the Ground Screams from Seeing the Small in the Large (1998–99) version of movement IV from the complete work arranged for smaller orchestra (flute/piccolo, flute, oboe, oboe/English horn, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, timpani, percussion, piano, strings), Frog Peak Music, Hanover, NH

Attunement (1999) song form for multiple voices (minimum 6) and freely realized harmonies with original text; recorded for release on Chanteuse (with Jacqueline Humbert), Lovely Music, Ltd., New York, CD, in process

Four Lines (2001) scores arranged for four different instrumentations with instruments specified by range: 1) two high and two low instruments, 2) two high instruments, 3) two pianos or other keyboards covering the piano range and 4) four trumpets; score may also be played by multiples of four instrumets—for example, twelve trumpets—with parts doubled or distributed and arranged in space; parts are played in loose synchrony with electronic tracks provided on a CD; solo improvisations may be inserted at various points in the score; musical material was derived from studying the time line dynamics of event related potentials (ERPs) occurring in the brains of two performers during a performance of On Being Invisible II (Hypatia Speaks to Jefferson in a Dream), Frog Peak Music, Hanover, NH

Naked Curvature (Four Memories of the Daimon) (2001) for instrumental sextet (flute/piccolo, clarinet/bass clarinet, violin, cello, piano/Midi keyboard, and percussion/Midi mallet instrument), whispering voices, four sound effect textures, and interactive computer software; score has modular sections which may be used to construct various performances; a symbolic concerto grosso and whispered chamber opera referring to particular mystical writings of William Butler Yeats and others, Frog Peak Music, Hanover, NH

Shiftless Drifters (2002) duet for two instruments capable of making continuous glides in pitch; one–page score includes instructions and graphic notation

On the Seduction of Sapientia (2003) re–workings of the 1974–75 viola da gamba score, titled The Seduction of Sapientia, to produce versions for several other stringed instruments, including solo violin, solo viola, solo cello, and violin duet, in process; see also the description the original version listed above

Zones of Coherence (2003) for solo or multiple trumpets, a score in four large, circular panels comprising musical configuration spaces, each with musical materials that may be ordered in a variety of ways to create the individual time-space realizations of particular performances, includes extended techniques, proportional tuning and time structures, and characteristic, virtuosic trumpet materials; the four parts employ Bb trumpet, Bb cornet, trumpet, or flugelhorn, Bb piccolo trumpet, and C trumpet respectively

Twilight Language (2004) for solo piano, a score in four musical configuration spaces with vistuosic materials, a Twilight Language (Theme), and symbols for surrounding sound space images to be developed and ordered by the performer; titles of the four configuration spaces give seed foci for musical meditations: I—Devotion and Restless Heart Indistinguishable, II—Simultaneous Absence of Silence and Sound, III—Leaping from Eye of Wildest Imagination, and IV—Imperishable Jewel of Adamantine Mind; refers to double meanings in Sandhyabhasa(Sanskrit), symbolic idiom of the mystical Siddhas of Tibet, the Tenth Century, Ch’an (Zen), Chinese painter, Shih K’o, a drawing by Lindsay Claire Rosenboom, and the canonical proportions of Tibetan Buddha figures, Frog Peak Music, Hanover, NH

Tango Secretum (2006) for solo piano with improvisational components, may also be arranged or orchestrated, refers to the poem, Secretum, by Martine Bellen, which in turn refers to Secretum by Francesco Petraca, Frog Peak Music, Hanover, NH

Kicking Shadows (2007) for solo piano with improvisational components, may also be arranged or orchestrated, links rhythm and blues inspirations with Zen-soul and forms of gradual processes, refers to Chi-fo (a.k.a. Feng-seng), in memory James Brown

Kicking Little Shadows (2007) for solo piano, especially for young pianists, links rhythm and blues inspirations with Zen-soul , refers to Chi-fo (a.k.a. Feng-seng), in memory James Brown, in Elena Riu's Ryhthm and Blues, Boosey & Hawks, London, (in press)

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MUSIC DEVELOPED THROUGH INTERACTIVE COMPUTER OR ELECTRONIC SYSTEMS PERFORMANCE PRACTICE

Music for the Play, Ubu Roi (1968) live electronics with analog computer synthesis, made for a production of Alfred Jarry’s play, directed by Harold Wicke at the State University of New York at Buffalo

Two Pieces for Analog Computer: Music for Unstable Circuits (1968) live electronics with analog computer synthesis exploring ideas about instability, recorded in the composer’s studio, New York, another version remixed at the Mills College Center for Contemporary Music was released as Music for Unstable Circuits (+Drums) on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette

On Being Invisible (1976–7) self–organizing musical form for soloist with computer assisted brain signal analysis capable of extracting auditory event related potentials (ERPs) and spectral information, interactive electronic music system, touch sensors, small acoustic sources, and software by the composer; documented in the monograph, Extended Musical Interface with the Human Nervous System, Leonardo Monograph No. 1, ISAST, International Society for the Arts, Sciences, and Technology, Berkeley, CA, 1990; revised version (1997) available through Leonardo Electronic Alamanac, Electronic Monographs; [2.2 MB PDF available below]; recording first released by Music Gallery Editions, MGE–4, Toronto, 1977, LP; video documentation of a performance, Western Front Video, Vancouver, 1977; recorded excerpts on Musicworks 28, Music Gallery, Toronto, 1984, cassette accompanying journal; and Computer Music Journal, The MIT Press, Vol. 14, No. 1, Cambridge, MA, Spring 1990, sound sheet accompanying journal; complete work re–released on Invisible Gold, Pogus Productions, 21022–2, Chester, NY, 2000, CD
view monograph PDF

Future Travel (1981) set of seven pieces entitled, Station Oaxaca, Nazca Liftoff, Corona Dance, Time Arroyo, Desert Night Touch Down, Palazzo, and Nova Wind, freely composed in studio utilizing the system of harmonies and melodies developed for the In The Beginning series with expanded electronic orchestration and instrumental parts; realized with computer assisted instruments including Touché digital keyboard instrument and Buchla 300 Electronic Music System, piano, violin, percussion, and electronically processed speech; some pieces are scored or sketched in notation; recorded at Zoetrope Studios, San Francisco, CA, released by Street Records, SRA–002, Birmingham, MI, 1982, LP

Systems of Judgment (1987) computer assisted synthesis and processing systems, environmental recordings, keyboards, violin, auxiliary sound objects, and sampled sounds; underlying narrative derived from mixing three ways of viewing the evolution of language; made for concert–length choreographic work by DanceArt Company, Claire Whistler and Duncan McFarland, with sculptures by John Davis; can be performed live by the composer; some materials are notated; recorded at the Mills College Center for Contemporary Music, released by Centaur Records, Inc., Consortium to Distribute Computer Music, Vol. 4, CRC 2077, Baton Rouge, LA, 1989, CD

Layagnanam (1990), in collaboration with Trichy Sankaran, for South Indian mrdangam and a computer music system that responds to the changing complexity of variations played on a rhythmic cycle and using sound samples of basic drum strokes transformed through digital signal processing to build a real–time accompaniment for the mrdangam performance

Predictions, Confirmations, and Disconfirmations (1991) for soloist with MIDI keyboard or pitch follower, HFG (Hierarchical Form Generator) computer software, and automatically responding instruments; an adaptive extended instrument is created, which parses improvised musical material that can not be predicted in advance by employing a partial model of musical perception modeled in software

Extended Trio (1992), in collaboration with Charlie Haden and Trichy Sankaran, improvising trio with two Yamaha Disklavier pianos, pitch follower and event triggers, HFG (Hierarchical Form Generator) computer software, and three computer music systems responding to piano, bass and South Indian mrdangam; sample recording released on Hallways, Frog Peak Music, FP002, Hanover, NH, 1993, CD

Lineage, Enactment, Transfiguration, and Transference (1992) developed in collaboration with Anthony Braxton, duets for MIDI grand piano, responding piano controlled by computer, with sopranino, soprano, and alto saxophones, clarinet, and flute; each piece is guided by particular interactive structures and musical shape transformation vocabularies implemented with HFG (Hierarchical Form Generator) software, recorded at the Center for Experiments in Art, Information, and Technology at California Institute of the Arts, released on Two Lines, Lovely Music, Ltd., LCD 3071, New York, NY, 1995, CD

On Being Invisible II (Hypatia Speaks to Jefferson in a Dream) (1994–95) self–organizing, interactive multi–media chamber opera for two performers with computer music systems capable of measuring auditory event–related potentials (ERPs) from their brains, two improvising musicians, narrator, computer performer(s), computer–controlled laser disk video projection, slide projections, pre–recorded voices, OBI software written in HMSL (Hierarchical Music Specification Language), and real–time digital synthesis system; a non–linear narrative form in which texts, music, and image sequences are ordered by the results of analyzing brain signals from the Hypatia and Jefferson characters; partially documented in software, program notes, texts, and the monograph, Extended Musical Interface with the Human Nervous System, Leonardo Monograph No. 1, ISAST, International Society for the Arts, Sciences, and Technology, Berkeley, CA, 1990; revised version (1997) available through Leonardo Electronic Alamanac, Electronic Monographs; [PDF 2.2 MB version availaable below]; one realization released on Transmigration Music, Centaur Records, Inc., Consortium to Distribute Computer Music, Vol. 30, CRC 2940, , Baton Rouge, LA, 2000, CD
view monograph PDF

Imaginary Wave Fields (2005) solo violin and bank of resonators realized with computer software and linked through various harmonic constructions that can be controlled in real-time to extract ringing chords with elision, melisma and ornamentation driven by the pitch and amplitude content of the violin sound

Hunter/Hunted (2005) for eight singers and interactive computer music system, created for the dance by choreographer, Tina Yuan; singers use wireless microphones and move on stage with dancers; three movements derived from the earlier composition, Attunement, —(see list of pieces with scores available)—, performed as movement one; movements two and three successively deconstruct the text and vocal sounds of Attunement in various ways to activate signal processing software and create musical textures for the remaining parts of the work

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PIECES DEVELOPED THROUGH IMPROVISATION PRACTICE WITHOUT ELECTRONICS OR WRITTEN SCORES

19IV75 (1975) two pianos, improvisational work developed in collaboration with J.B. Floyd; some parts draw on notated materials, recorded at Northern Illinois University, Dekalb, IL, released on Suitable for Framing, Aesthetic Research Centre of Canada, ST1000, Vancouver/Toronto, 1975, LP

Keyboard Encounter for Two Pianos and Two Unacquainted Players (1976) concert encounter arranged for two previously unacquainted pianists, Charles McDermed and David Rosenboom, who perform without having visual contact with each other, organized by Donald Buchla, recorded in performance at 1750 Arch Street, Berkeley, CA, released by Ocean Records, Composers Cassettes, Vol. VII, Los Gatos, CA, 1976

And Out Come the Night Ears (1977–8) solo piano interfaced with Buchla 300 Electronic Music System, developed through improvisational practice, performance recording released on Rosenboom and Buchla: Collaboration in Performance, 1750 Arch Records, S–1774, Berkeley, CA, 1978, LP

Epilogue (1978) solo piano, developed through solo improvisational practice, also used as sound track for a film by Mary Moulton, recorded in performance at 1750 Arch Street, Berkeley, CA, 1978

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PERFORMANCE ART WORKS

To Whom It May Concern (1967) with William Youhass, any number of players, narrator, conductor, electronic tape; absurdist music performance collage with continuous endings

The Brandy of the Damned (1967) solo improvisational theater piece with electronic tape

Electrovoice (1967) one performer, electrodynamic speaker, 110 volts AC; absurdist gesture about electronic sound

The Naked Truth (1976) with George Manupelli and Michael Byron, full–length concert work for performance art ensemble; violinist playing As Time Goes By is stuffed with wadded newspapers by two artists as musicians perform while doing choreographed calisthenics with amplified breath, includes electronic music

Rain, A Lament for the Peoples of Chile (1976) with George Manupelli, performance art ensemble with electronic music, created for the Maple Sugar group, Toronto

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 (1977) with George Manupelli, composer–artist duet, performance art with electronic music and theater

Thaddeus Cahill, Deceased (or Drums Mark the End) (1977) with G. Manupelli, J. Humbert, M. Moulton, W. Winant, J. Tenney, A. Holloway, M. Byron, and C. Arnoldin, full length concert work for performance art ensemble, created for the Maple Sugar group, Toronto, score published in Parallelogram Retrospective, Association of Non–Profit Artists Centers, Montreal, 1977

Throughout: The Coordinated Effect of Attraction and Repetition on Uncoordinated Presence (1978) with George Manupelli and Jacqueline Humbert, performance art ensemble, created for the Maple Sugar group, Toronto

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MUSIC COMPOSED FOR RECORDING MEDIA

Internals (1966) analog synthesis and tape manipulation, recorded in the Experimental Music Studio at the University of Illinois, Urbana

Music for the Movie, I’ll Be Damned (1966–7) orchestra and electronics tape collage, recorded in the Experimental Music Studio at the University of Illinois, Urbana

Telluspeep (1967–8) analog synthesis and tape collage, recorded in the Experimental Music Studio at the University of Illinois, Urbana

Four Soundings from URBOUI: 1. Pére Facts 2. The Fats of Life 3. Meu–sic 4. Earie (1968) 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, used with 16mm film, Pére Facts, by Robert Lieberman, released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette

City Mix (1968) analog computer synthesis, recorded in the composer’s studio, New York

Two Short Electronic Organ Pieces (1969) Vox electronic organ and Neurona Omnivoila voltage controlled frequency dividers, recorded in the composer’s studio, New York

Body Music (1969) electronic sounds presented with slides, recorded in the composer’s studio, New York

Music for the Movie: ‘Red–Yellow–Blue’ (1971) made for a film by Stuart Murphy, various sections performed by the composer on trumpet with tape delay, Hammond B3 organ, violin, bass, drums, and ARP 2600 synthesizer, recorded at Lucas–McFaul Studios, New York

Music for the Film: ‘Computer Art’ (1971) ARP 2500 synthesizer, made for film by Les Mezei, produced for the Ontario Educational Communications Authority, recorded in the Electronic Media Studios at York University, Toronto

Music for the Film: ‘Olympic Gymnastics’ (1975) ARP 2500 synthesizer, made for documentary film intended for Canadian television, recorded in the Electronic Media Studios, York University, Toronto

Mass (1973) ARP 2500 synthesizer, made in collaboration with Robert Fisher, Diane Roblin, and Martin Backler to accompany a dance choreographed by Robert Cohan, recorded in liver performance at Burton Auditorium, York University, Toronto

Music for the Movie: ‘Almost Crying’ (1978) Buchla 300 Electronic Music System and subsidiary instruments, includes the song Oasis in the Air composed with Jacqueline Humbert, with piano, violins, and trumpets, made for the film directed by George Manupelli, St. Theodore Films and John B. Caldwell Productions, Bethlehem, NH, Toronto, and Los Angeles

Musical Intervention 1979 for Eugenio Tellez, electronic process based on the Himno National de Chile, recorded in the composer’s studio, released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette

Musical Intervention 1982 for Eugenio Tellez, electronic process on the Internationale, recorded in the composer’s studio, released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette

Study for ‘ZONES’ (1984) computer controlled MIDI synthesizer ensemble, recorded at the Ontario Science Centre, Toronto, released on a cassette accompanying the journal Musicworks #28, Toronto, and on a cassette compiled by Jeanne Parsons, one.source: HMSL, Frog Peak Music, Hanover, NH, Hanover, NH

Brave New World (Music for the Play) (1995) computer music system, made for a production directed by Robert Benedetti in the Walt Disney Modular Theatre at California Institute of the Arts, recorded in the composer’s studio.

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COLLECTIVE COMPOSITON–SOME COLLABORATORS WITH WHOM SIGNIFICANT REPERTOIRE WAS DEVELOPED THROUGH GROUP IMPROVISATION PRACTICE

Time and Think Dog! (1967–68) with Richard Stanley, Thos. G. McFaul, and Lynn Newton; extended notions of rock–‘n–roll and new music

The Electric Ear (1968–69) with Anthony Martin and Morton Subotnick; multimedia and music

The Persian Surgery Orchestra (1969) with Terry Riley (director), Jon Hassell, and Ed Burnham; cyclical gradual process improvisation utilizing composed starting points provided by Riley

B.C.–A.D. (1969–95) with Salvatore Martirano; live electronic music with custom–made systems

Light I (1972) with Jon Hassell, J.B. Floyd, Terry Clarke, and Rick Homme; cross–stylistic improvisation utilizing composed starting points

Light II (1973–74) with J.B. Floyd, Terry Clarke, Rick Homme, Kathy Moses, and Bruce Pennecook; cross–stylistic improvisation utilizing composed starting points; recorded for radio broadcast by Canadian Broadcasting Corporation, Toronto, 1975

It Takes a Year One Earth To Go Around the Sun (1969–70) with Gerald Shapiro; emphasizing cyclical gradual process music and audience interactive pieces with electronic music

David Rosenboom and J.B. Floyd (1974– ) two piano duo, development of a repertoire of pieces employing improvisation and a variety of open form compositions

Trio I (1975–76) with Richard Teitelbaum and Michael Byron; open form music with instruments and electronics

Trio II (1977–78) with Michael Byron and William Winant; open form music, example released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette

Maple Sugar (1975–79) 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; performance art collective, theater, music, new media, narrative forms, and art performance, often involving improvised forms; see Humbert, J., (1978), Something Called Maple Sugar
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It’s Only Worth Being Strapped In During Take–Off and Landing (1984) duo with William Winant, percussionist; open form music

The Anthony Braxton Quartet (1986) with Anthony Braxton, Gerry Hemmingway, and Mark Dresser; work centering around Braxton’s compositions and improvisation, examples released on Five Compositions, Black Saint IREC, BSR 0106, Milan, Italy, 1987, CD; and The Anthony Braxton Quartet, "...if my memory serves me right", West Wind, Bellaphon Records, ITM–Records, 004, Wuppertal, Germany, 1988, CD

Challenge (1986– ) with Anthony Braxton and William Winant; music collective employing composed and open forms, examples released on The Virtuoso in the Computer Age, Centaur Records, Inc., Consortium to Distribute Computer Music, Vol. 10, CRC 2110, Baton Rouge, LA, 1991, CD, and Bananafish, 13, San Francisco, 1999, CD accompanying journal

Here is a quote from the album notes to Rosenboom’s 1978 LP, Collaboration in Performance, which contains the compositions, And Out Come the Night Ears and How Much Better if Plymouth Rock Had Landed on the Pilgrims, Section V.

"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."