GENERAL COMMENTS

"Perhaps no composer has used more complex logical processes than David Rosenboom, a brilliant and multi–talented musician who also performs virtuosically on both piano and violin . . . If Rosenboom's concepts are among the most abstract in the business, his sonic results are often sensuous and arrestingly meaningful."
Kyle Gann
American Music in the Twentieth Century
Schirmer Books, New York, 1997

"We consider David Rosenboom an eclectic personage who in addition to playing a select number of acoustic and electronic instruments is also a composer, performer, writer, conductor, teacher and above all one of the great and relatively little–known (at least by us) electronic experimenters."
Gino Dal Soler
Blowup (Italy)
February, 2001

"As ever with Rosenboom's work, it is charged with concentrated intellect yet makes for rich listening."
Julian Cowley
The Wire (England)
March, 2001

" . . . David Rosenboom . . . has become one of the leading lights of interactive computer composition."
Kyle Gann
The Village Voice (USA)
August 19, 2002

"Rosenboom is quite possibly the brainiest computer composer around, but don't expect dry cerebration: his stylistically wide–ranging textures are verdant with harmony and melody drawn from many eras and world cultures."
(CD Picks)
The Village Voice (USA)
January 16, 1996

"He is a talent to keep track of."
Donal Henahan
The New York Times
November 25, 1970

"Mr. Rosenboom is sure–eared, sure–eyed and inventive . . . He is particularly adept in sensing the relationship between sounds, sights and movements and balancing them against each other . . . This was a total environmental music, but it was a very supporting environment to be in the midst of."
Theodore Strongin
The New York Times
May 20, 1969

ABOUT RECORDINGS

Suitable for Framing
 
At Northern Illinois University on 19th April 1975 a remarkable concert took place featuring the twinned pianos of composers David Rosenboom and J.B. Floyd with added magic from South Indian percussionist Trichy Sankaran. It was documented on a painfully scarce LP issued by the Aesthetics Research Centre Of Canada. Now Suitable For Framing has resurfaced with additional material and it’s still a mesmerizing experience. The vinyl release carried the subtitle “forms of freedom for two pianos and mrdangam”. This was one of those incandescent moments that marked a confluence of energies released through experimental composition in the wake of Cage, Coltrane’s spiritual sublimation of jazz technique and exploratory, horizon-expanding engagement with non-European music.

The longest track, “19IV75”, is a 22-minute billowing keyboard duet, structured improvising that swirls and breaks around transitory compositional touchstones. These aids to navigation had been acquired during the preceding year through a series of concerts across Europe and North America and in accompanying Merce Cunningham’s dancers. Cues emerge spontaneously in the flux, are used and superseded in a musical outpouring that’s transporting and at times torrential.

The first movement of Rosenboom’s tripartite “Patterns For London” was written for performance at London’s 1972 International Carnival Of Experimental Sound. The pianists improvise around ostinato chords and modal scales that circulate within a potentially endless cyclical form. A dazzling ten-minute percussion solo follows. It wasn’t included on the vinyl issue but clarifies helpfully an affinity between the aspirations of the two Americans and the dynamic tradition nourishing Sankaran. Rosenboom’s “Is Art Is” is another 20-minute track, now longer by a third than the LP version. It was written initially for Floyd’s group Electric Stereopticon and involves further engagement with infinite form, phased repetition and overlapping themes wound into an ecstatic proliferation of jazz-tinged minimalism, magnificently glossed by Sankaran’s drumming. “Suitable Bonus”, the concluding extra track, is improvised around a couple of Rosenboom’s compositions with Sankaran playing kanjira, a kind of tambourine. It resoundingly confirms the spirit of the occasion and puts the seal on a vital and thoroughly uplifting recording. - Julian Cowley
The Wire
February, 2005

Invisible Gold
 
"The music is truly a wonder to behold, especially in light of the complex models and mechanisms developed by Rosenboom for the project . . . The pieces documented on Invisible Gold represent an undeniable milestone in the history of electronic music."
Richard di Santo
Incursion Music Review (USA online journal)
September 2, 2001

" . . . essential listening [for] anyone interested in the history of electronic music."
Gino Robair
Electronic Musician, E–Musician Xtra! (USA online journal)
July 1, 2002

" . . . these performances are exciting, challenging, and alive in a way one seldom hears even in the shiniest new works of digital music . . . striking a balance between chaos and repetition, transformation and contrast, variety and obsessive focus, and between their various available musical gestures and timbres. From very limited materials, convincing musical shapes are created."
Andrew May
Computer Music Journal (USA)
Summer, 2002

"This is a physical, spiritual and scientific immersion in the realm of experimental electronica . . . This CD is a must have for those interested in and passionate about the continuing evolution of experimental electronic music."
Michael Shrapnel
indie-cds.com (Australia)
Februar 13, 2006

 Roundup, A Live electro–acoustic retrospective (1968–1984)
 
"David Rosenboom has been a pioneer in the use of music technology for over 20 years. His music, though firmly planted in the avant–garde and bristling with intellectual vigor, has always had a visceral, eclectic energy that sets it apart from the purely academic . . . This mujsic is idea based . . . Rosenboom's superb ear for sonic detail, orchestration and improvisational nuance keep these potentially dry ideas vigorous and compelling in the hearing."
Carter Sholz
Music Technology (USA)
December, 1988

 
Future Travel
 
"The real challenge is to use the new sounds [from electronic instruments] as a stimulus to a new type of musical thinking, to place them in contexts that reinforce their own distinctive character. This is a challenge that David Rosenboom seems positively to relish. His new album Future Travel is remarkable not only for the warm organic timbres he coaxes from his synthesizers, but for the way these are woven into a tapestry that is as revelatory macroscopically as microscopically . . . Rosenboom's new perspectives on electronic music are sure to suggest fresh possibilities to other composers working in this area. Also, the music just plain sounds good."
Jim Aikin
Keyboard (USA)
July, 1982

"A find disc of computer music with some additional acoustical instruments in a mix that sounds both natural and complementary."
Dean Suzuki
OP: Independent Music (USA)
"P" Issue, 1981

 Two Lines
 
"California–based composer and pianist David Rosenboom has been using neurological models and natural evolutionary forms as musical fodder for decades . . . The result [Two Lines] is an exciting, often wave–like interaction . . . emanating somewhere between the zap of synapses in action and the zip of a stimulated microchip."
John Corbett
Downbeat (USA)
July, 1996

"Frequently it sounds like virtuosos and computer are trying to play all the notes at once, but it's amazing how focused Rosenboom's algorithmic improv is, even when that focus is constantly moving."
(CD Picks)
The Village Voice (USA)
April 29, 1997

"In his notes for this CD [Two Lines], composer David Rosenboom supplies a densely detailed explanation of the concept and musical structure of what is a complex and elegant musical experience, deeply satisfying in its unpredictability. Both Rosenboom and Braxton have such mastery of their instrument . . . that they are free to fearlessly explore Rosenboom's compositional structure . . . The subtleties of the dialog, the musical ëconversation,' in all its phases from contemplative listening to fast–paced repartee offer much to discover for both the sophisticated ear and the ear less well tuned. Braxton and Rosenboom demonstrate that it is possible to make both serious experimental and immensely pleasurable music."
J.A.
P (USA)
Summer, 1996

"Some pieces [from the CD Two Lines], such as Lineage, have the austere feel of contemporary classical while others are more unhinged. Enactment, for instance, features Braxton creating a non–stop flow of jittery sax while underneath is what sounds for all the world like a Conlon Nancarrow study played extremely fast on a toy piano. The title track [Two Lines by Rosenboom] is yet another approach, almost as if Thelonious Monk wrote extended instrumental explorations. Two Lines is more challenging but no less rich than the other albums."
Lang Thompson
Creative Loafing (Atlanta, GA, USA)
November 23, 1996

ABOUT PIANO PERFORMANCE

"Rosenboom plays with both a virtuoso's touch and flair, producing waves of tone in which every note's distinct."
Gregory Sandow
The Village Voice (USA)
July 19, 1983

"Rosenboom's performance of piano works was marked by great bravura . . . But there is much more than technique to Rosenboom's performance; it was also marked by strong personal involvement with his music throughout the evening. He never seemed to be merely going through the motions, but rather embodied the romantic ideal of the artist as a second creator."
Ian Balfour
Excalibur (Toronto)
March 6, 1975

"David Rosenboom and J.B. Floyd's concerts for two pianos . . . The compositions were overwhelmingly powerful constructions of many layered sound. Highly serial and repetitive, they swept along with the dense fluidity of 20 Chopin preludes played simultaneously. Silence, when it came, was devastating."
Willard Holmes
The Vancouver Province
February 15, 1973

ABOUT CONDUCTING

" . . . as conducted breezily by David Rosenboom . . ." [Referring to a performance of Salvatore Martirano's LON/dons by CalArts New Century Players.]
Daniel Cariaga
Los Angeles Times
April 14, 1993

"Conductor David Rosenboom offered exacting guidance through the eclectic half–hour suite." [Referring to a performance of Anne LeBaron's Telluris Theoria Sacra by CalArts New Century Players.]
Josef Woodard
Los Angeles Times
March 19, 1997

"The concert was a musical history lesson led by Rosenboom, who guided his audience through the evolution of changes in experimental music from the late 1770s to the early 1990s . . . This is wonderful what he is doing for our symphony . . . widely recognized as a great innovator in American experimental music, . . . Rosenboom demonstrated his own talent and musical genius as a composer with a performance of his original composition Continental Divide . . . Later, the performance of Henry Cowell's Polyphonica was absolutely amazing . . . Finally, Rosenboom's own gradual process piece Continental Divide was performed; its intensity just blew the audience away . . . the Symphony of the Canyons . . . whose work along with the guidance of Rosenboom left the audience in total admiration of their abilities."
Kim Teaman
Canyon Call (USA)
April 3, 2001

ABOUT SPECIFIC WORKS

 
Bell Solaris

"Converging Piano and Theater—Rosenboom adds thrilling technological and visual flourishes to his 'Bell Solaris' —In 1998, composer-pianist David Rosenboom completed a solo piano tour de force, "Bell Solaris," for his fellow pianist Katrina Krimsky, in a form involving variations on a theme. In an expanded, theatricalized version that he premiered Thursday at REDCAT, he lavishes new variations upon his earlier ones, in visual and technological as well as musical terms. Leave it to Rosenboom — the CalArts dean of music, who is also actively engaged in computer music, improvisation and other experimental pursuits — to up the ante of performance possibilities. He aptly subtitles the piece "Twelve Metamorphoses in Piano Theater." This time out, he plays one grand piano while triggering a second, unmanned grand piano — through his own software — often creating a thrillingly dense thicket of pianistic sound in the space. Too rarely do we get the chance to hear Rosenboom's considerable skills as a pianist, and this work serves as a fine prism for his musicianship. "Bell Solaris" is a virtuosic and layered score, in which passages of discernible tonality and idiom — sometimes even including folk and gospel — are dissected and fragmented. Fleeting echoes of Messiaen and Nancarrow pass through, along with touches of Rosenboom's voice as a post-free-jazz player. Amid the density are movements of slow, languid lyricism, palate cleansers for the beautifully crazed sonic onslaughts to come. For the REDCAT incarnation, Rosenboom had help on the theater side from CalArts colleague Travis Preston, the school's director of theater and opera. Floors and walls are randomly plastered with huge white sheets of paper against black, evoking piano keys.

That backdrop becomes entwined with the swirling, collaged projections from a troop of videographers who roam the stage and supply live data. The sum visual effect, at its most intense, can suggest a house of mirrors or the retro phantasmagoria of Fritz Lang's silent film "Metropolis." Convergence is the underlying theme of this "Bell Solaris," in what is ultimately a fairly blissful match between the pure physicality of vigorous piano playing and the more ambiguous layers of data carried through wires and software. Piano theater, indeed."
Joe Woodard
The Los Angeles Times
April 9, 2005

Zones of Coherence and Bell Solaris
 
"the next performer, David Rosenboom, referred to 'time-space configurations,' 'unstable systems,' and 'sound orderings' in his program notes, but his music also offered more concrete pleasures like intriguing trumpet lines [performed by Daniel Rosenboom in Zones of Coherence] and energetic, Nancarrowesque piano explorations."
Fred Cisterna
The Brooklyn Rail
January, 2005

Twilight Language
 
"Visible made aural: It strikes a chord — . . . But it took the premiere of an ambitious, entrancing piece by David Rosenboom, 'Twilight Language,' to best demonstrate how mysterious all this eye/ear business really is. I have no idea what Rosenboom is up to in this piece. It connects with Tibetan Buddhism ('The Simultaneous Absence of Silence and Sound' is the title of one of its four parts). It alludes to a 10th century style of Chinese Zen painting known as 'i' ('wildly free gestures so refined as to inexorably convey fundamental forms of nature,' the composer writes).

Musically, however, 'Twilight Language' is a stunning exploration of the pianistic language. Rosenboom is best known as an improviser who sometimes takes a while to get going, but once he does he draws alluring, even transcendent, washes of sound from the piano. Here there was no wait. Right from the start, Ray produced an aura of awe, hitting a gong to set the mood, rippling across the keyboard to take listeners into another world and producing all manner of wondrous effects. A marvelous percussive dance-like section was played while the strings of the piano were damped. Ravishing waves of otherworldly harmonics sounded like Debussy in the clouds. The piece lasted 15 minutes and, in the very best, time-stopping sense, seemed much longer. [Vicki] Ray's performance was mind-bending."
Mark Swed
Los Angeles Times
March 17, 2005

Portable Gold and Philsophers' Stones
 
"The resulting spectral harmonic and melodic interplay is quite simply gorgeous, irrespective of the quasi–magical circumstances of its creation; about three quarters of the way through the piece the drones settle on a rich consonance and suddenly, miraculously, all four ëvoices' just take off like birds into a clear sky–it's like a quiet, slow[–]motion orgasm, and surely one of the great epiphanies of electronic music along with certain spectacular moments in established masterpieces by the likes of Xenakis and Stockhausen."
Dan Warburton
Signal to Noise (USA)
Spring, 2001

"The result of the playing of pure sound . . . is something almost like electronic improvisation, of which Rosenboom is a great master . . . "
Gino Dal Soler
Blowup (Italy)
February, 2001

"Portable Gold and Philosophers' Stones (1972) is an evocation of alchemical symbolism's transcendence of the constraints of time and space . . . "
Julian Cowley
The Wire (England)
March, 2001

"[The] electronic sounds [of Portable Gold and Philosophers' Stones] . . . descend and envelop with the delicacy of a full–body wax mold . . . "
S. Glass
Bananafish (USA)
No. 15, 2001

On Being Invisible
 
"It's music which seems to disclose a universal choreography, the patterns of an evolutionary dance that lies ordinarily beyond sensory awareness."
Julian Cowley
The Wire (England)
March 2001

"The music Rosenboom generates is extraordinarily vivid and captivating; if you're into digital music, you'll want to own a copy of On Being Invisible."
Jim Aikin
Contempoary Keyboard (USA)
October, 1978

"On Being Invisible . . . Charmed cobras pluck the ribcage with enough vigor to make the left hand of Fats Waller jealous . . . "
S. Glass
Bananafish (USA)
No. 15, 2001

"At times the music seemed to swirl out and engulf the audience, caressing or attacking the senses at the whim of the performer, then retreating into an introspective study in sound and time . . . His music seemed to flow through the audience instead of around it, involving us all in the performance of a mass experience to an extent as impressive as it was incomprehensible."
Stephen Elliott
Monday Magazine (Vancouver)
March 7, 1977

 Attunement, (performance with Jacqueline Humbert)
 
" . . . Rosenboom's hypnotic Attunement, with expansive chord shifts, a philosophical text, and Humbert's dry, surreal dramatics effectively seizing the room's ambient sprawl."
Joseph Woodard
Los Angeles Times, Calendar
July 19, 2002

 Systems of Judgment and Is Art Is
 
"Systems of Judgment is one of the most remarkable and listenable works made so far with interactive computer software . . . few computer–driven works remain as fascinating on repeated hearings as Systems of Judgment."
Kyle Gann
American Music in the Twentieth Century
Schirmer Books, New York, 1997

"Throughout these decades [1960s–1990s] Rosenboom has composed consistently fascinating music including the outstanding computer music epic Systems of Judgment (1988)."
Julian Cowley
The Wire (England)
March 2001

" . . . Rosenboom conceptually bridges LaMonte Young's primeval tone and the stochastic noise textures of Xenakis. In between, you encounter Scriabinesque piano harmonies, Ivesian layering, African rhythmic articulation, tensely minimalist stasis, joyously weld Messiah–like melody, drizzle, storms, limpid pools, mountain climbs, all audibly referring back to that opening thunder. And yet, the framework wraps these into a unified, uncultivated landscape, each terrain just a logical footstep away from the others. The piece [Systems of Judgment] sums up the 20th century, and sounds ravishing in the process . . . And another Rosenboom conceptual improv, Is Art Is . . . It brought the house down, and showed that Rosenboom has more tricks up his sleeve (including dazzling finger technique) than a small sampling of his work would suggest. But it was Systems of Judgment that seemed to fulfill a dozen 20th century promises at once, the most intellectual–in all good senses of the work–new work I've heard in a long, long time."
The Village Voice (USA)
May 8, 1990

" . . . the conception and execution are consistent, challenging, and uncompromising, and will stretch your ears in unconventional ways."
Robert Rowe
Computer Music Journal
Fall, 1990

 A Precipice in Time
 
"Just as you were about to switch off, a piece by David Rosenboom–written in 1966, realized in 1991–hits you right between the ears. Trickling effects, delirious rhapsodies, multiple event[s] . . . Despite the much–publicized claims of the minimalists to open up classical music to other cultures, their tame nods to world rhythm are blown to shreds by the vitality of cross–cultural eruptions like this."
Ben Watson
The Wire (England)
June, 1992

"David Rosenboom's A Precipice in Time (1966) is a 12–minute explosion of wild, free jazz and multilayered lines that fly out of the speakers and dash about the room (and my brain) in all directions! . . . The aural result is constantly varying, yet completely unified. The dense texture and rapidly shifting points of aural focus create a call–and–response dialogue that gives the work its powerful forward drive. The piece is totally exhilarating, and I find it difficult to avoid getting caught up in its frenzy . . . the music is exciting on a purely aural level. The Final gesture is masterful . . . The listener joins with the performers on a true precipice throughout the duration of the work. Somehow, we all survive (the performers can probably perform the work again following some rest and only minor medical attention!), yet we have all benefited from the experience."
Brian Belet
Computer Music Journal (USA)
Winter, 1993

 Zones of Influence, (performance with William Winant)
 
"David Rosenboom's Zones of Influence was an exhilarating cycle of works for percussion and electronics. Through five sections, it moved from disorder to order and eventually back to chaos, based on concepts of morphogenesis and catastrophe theory. Willie Winant on percussion and Rosenboom on electronics were a dynamic team."
Marina LaPalma
High Performance (USA)
1986

"In a dim–lit, half–filled loft last winter, percussionist William Winant performed David Rosenboom's Zones of Influence, hammering out, on three snare drums, the most incredible display of rudimentary drumming we have ever heard. He then proceeded to surpass that performance on marimba, and that one on various gongs, all accompanied by computer–generated electronic maelstroms."
Jonathan Gold
Los Angeles Weekly
November 1, 1985

"Winant [solo percussionist in Zones of Influence] was supercharged and brilliant. On nine drums of greatly varying size and seven metallophones of mostly indeterminate pitch, he created a vast drama with both tense silences and torrents of rhythmic release."
Peninsula Times Tribune (USA)
Santa Clara, CA
1985

Predictions, Confirmations and Disconfirmations
 
"On the last day, a gorgeous few moments in David Rosenboom's Predictions, Confirmations and Disconfirmations . . . with Rosenboom's violin activating a torrent of radiant complimentary sound from the concomitant computers, and the whole thing resounding in audible Technicolor through the cavernous resonance of the big room at Ace Contemporary Exhibitions, should have convinced anyone that some power to exhilarate still lingers on the musical scene."
Alan Rich
LA Weekly (USA)
June 12–18, 1998

 The duet music of Rosenboom and Anthony Braxton  
" . . . the pair have developed a remarkable telegraphic communication . . . This night, the two wove in and out of dissonance and abandon like partners on a rigorous slalom course . . . Rosenboom, especially, was a revelation: He attacks the keyboard aggressively, a la Cecil Taylor, but with a dancer's sense of subtle dynamics."
Josef Woodard
The Santa Barbara Independent (USA)
October 11, 1990

"Rosenboom contributes awareness of the huge spaces of Darmstadt experimentation to Braxton's nervy energy . . . Rosenboom and Braxton not only know how to use computers as more than fashionable dressing–they are also doing wonderful things at the composition/spontaneity interface. Free–ranging, flamboyant, startling, humorous, heavy–improvisation proves once again its crucial role in modern music." [Referring to Braxton's Composition No. 107 and Rosenboom's A Precipice in Time.]
Ben Watson
The Wire (England)
June, 1992

"In 1985 . . . Rosenboom became, as a pianist, one of reedsman Anthony Braxton's most stimulating collaborators . . . "
Julian Cowley
The Wire (England)
March, 2001

"Anthony Braxton, the great professor, dueled with new pianist David Rosenboom to exhilarating effect."
Richard Cook
The London Times
July 17, 1986

Telecommunications concert performance of Is Art Is and
Predictions, Confirmations, and Disconfirmations,
(produced by CalArts' Center for Experiments in Art, Information, and Technology)
 
"It is an impressive work! The performance was also impressive! Equally impressive was the technology! Three musicians [Rosenboom, J.B. Floyd, and Wadada Leo Smith], two in New York and one in Santa Monica . . . all came together to create some truly excellent music."
Rodney Oakes
Journal SEAMUS (Society for Electro–Acoustic Music in the United States)
April, 1995

 How Much Better if Plymouth Rock Had Landed On The Pilgrims
 
"If there were a device whereby one could plug into the deepest levels of human consciousness, and then translate this input into sound, what we would here would probably resemble How Much Better if Plymouth Rock Had Landed On The Pilgrims, the radical composition by David Rosenboom . . . The elemental pulsations of the piece seem to echo not only our fundamental biological cycles, but those innate psychical tides that govern the flux of human thought and feeling . . . The listener becomes receptive to fantasy and hallucination and instants seem stretched to eternities . . . Rosenboom's idiom poses a new esthetic . . . against the ascetic, disciplined, puritanical streak that one associates in this country with the Pilgrims, this new music hurls a rejuvenated sensuality and mysticism."
Alan M. Kriegsman
The Washington Post
June 20, 1970

"It is indescribably beautiful . . . As for me, it was the best concert experience I have ever had in my life."
Stephen Allen Whealton
Third Ear, (USA)
June, 1970

 Seduction of Sapientia, (ensemble arrangement by Xtet)
 
"Most immediate in its appeal in this concert at the L.A. County Museum of Art, was the first movement of David Rosenboom's The Seduction of Sapientia (1974), an attractive piece of chugging, cyclic minimalism, with a center vamp underneath improvisatory solos."
Timothy Mangan
Los Angeles Times
January 27, 1993

 In the Beginning
 
" . . . [In the Beginning] was a kind of dialogue, with each voice becoming more melodic or more percussive as the piece progressed and with phase relationships constantly shifting. It was a hypnotic and fascinating piece of work with a great deal more warmth to it than is usual in electronic music."
Robert Palmer
New York Times (USA)
December 12, 1978

Then We Wound Through an Aura of Golden Yellow Gauze
 
"Mr. Rosenboom's material for his music theater is straight out of the daily sound structure of our workaday lives–commercials, news features, readings from national advertising campaigns–worked into planned or random sequences for instruments and amplifiers which also suggest the tonal montage we live in without fully realizing it . . . Mr. Rosenboom at the harpsichord and four other players set up an organized caterwaul right out of our American–city tonal spectrum, including barks and shouts, whacks, splats, whines and some melodic fragments . . . This young composer is on to something–that there is air pollution of a second kind, too, and it's fair on the way to coating our sensibilities with a hypnotic rhetorical scum. He has separated out some of the elements and used them in some kind of cockeyed art, funny on the outside and disturbing at its base."
John Dwyer
Buffalo Evening News
December 18, 1967

" . . . this one produced a great deal of toungue–in–cheek fun." Donal Henahan
New York Times
December 20, 1967

 To That Predestined Dancing Place
 
"The audience loved it, and if the avant–garde develops a Top Twenty, it'll be in there."
John Dwyer
Buffalo Evening News
March 4, 1968

"This piece is in the [New Percussion] Quartet's repertory, and it probably is always a hit."
Thomas Putnam
Buffalo Courier Express
March 5, 1968

Ecology of the Skin
 
"What came out was what you might imagine hearing if you were walking around in the echoing chamber of your skull."
Barnard L. Collier
The Washington Post
December 7, 1970

"I can't resist saying that the concept blows my mind. It sounds like something everybody needs."
Carman Moore
The Village Voice (USA)
December 24, 1970

ABOUT WRITINGS

 
Biofeedback and the Arts
 
"Rosenboom and his collaborators are engaged in work that has profound implications for the creative arts."
Don Buchla
Whole Earth Epilog (USA)
September, 1974

" . . . a provocative compendium of proposals and methodology for exploring the biopsychological basis of esthetic experience."
S.P. Kirst and M. Schuman
Brain Mind Bulletin (USA)
September 29, 1976

"This book is a valuable source of information and ideas in this area . . . On the whole, this book is a useful addition to our knowledge of an experimental vanguard of the art and technology movement."
Arnold Berleant
C.W. Post Center
Long Island University (USA)
Ca. 1976

"The implications of Professor Rosenboom's work for the discipline of music therapy are too numerous to list here . . . Whatever the case, music therapists should be acquainted with the work being accomplished by David Rosenboom and his colleagues of the Aesthetic Research Centre of Canada."
Richard M. Graham
Journal of Music Therapy (USA)
Winter, 1976

Propositional Music: On Emergent Properties in Morphogenesis and the Evolution of Music,
(book review of Zorn, J. (ed.), Arcana)
 
"David Rosenboom's Propositional Music, an earnest and eloquent exposition of the need for ëcooperative transformation' as a basis for survival . . . "
Julian Cowley
The Wire (England)
April, 2000