David Rosenboom (b. 1947) is a composer, performer, conductor, interdisciplinary artist, author and educator. He has explored ideas in his work about the spontaneous evolution of forms, languages for improvisation, new techniques in scoring for ensembles, cross-cultural collaborations, performance art, computer music systems, interactive multimedia, compositional algorithms and extended musical interface with the human nervous system since the 1960's. His work is widely distributed and presented around the world and he is known as a pioneer in American experimental music.Rosenboom has been Dean of the School of Music and Conductor of the New Century Players at the California Institute of the Arts since 1990 and was CoDirector of the Center for Experiments in Art, Information and Technology from 1990 to 1998. He taught at Mills College from 1979 to 1990, was Professor of Music, Head of the Music Department, Director of the Center for Contemporary Music and held the Darius Milhaud Chair from 1987 to 1990.
He studied at the University of Illinois with Salvatore Martirano, Lejaren Hiller, Kenneth Gaburo, Gordon Binkerd, Bernard Goodman, Paul Rolland, Jack McKenzie, Soulima Stravinsky and John Garvey among others and has worked and taught in innovative institutions, such as the Center for Creative and Performing Arts at SUNY in Buffalo, New York's Electric Circus, York University in Toronto, where he was Professor of Music and Interdisciplinary Studies, the University of Illinois, where he was awarded the prestigious George A. Miller Professorship, New York University, the Banff Center for the Arts, Simon Fraser University, the Aesthetic Research Centre of Canada, the San Francisco Art Institute, the California College of Arts and Crafts and Bard College.
His music, performances, and productions have been recorded on various labels, most recently on Mutable Music, Centaur Records, Lovely Music Ltd., Cold Blue, Pogus Productions, Tzadik, Black Saint, West Wind, Elektra Nonesuch, Frog Peak Music and others. Examples of his recent projects include Bell Solaris (Twelve Movements for Piano) and Seeing the Small in the Large (Six Movements for Orchestra), both exploring new ideas about counterpoint and musical transformation, Chanteuse, a CD of new song forms with performance artist, Jacqueline Humbert, On Being Invisible II (Hypatia Speaks to Jefferson in a Dream), a selforganizing, multimedia opera involving brain signals, Naked Curvature, a modular score on the mystical writings of Yeats and others for instruments, whispering voices, and interactive computer music systems composed for the California EAR Unit, performances of little known pioneering music from the David Tudor Archives at the Getty Research Institute with colleagues, Vicki Ray, Mark Trayle, and Ron Kuivila, a new CD of Zones of Influence, a concert length work written for percussionist, William Winant, and the Touché, an innovative electronic instrument designed in collaboration with Donald Buchla in 1979-1980, a new recording of And Come Up Dripping, for oboe and computer signal processing, with soloist, Libby van Cleve, two works exploring a new scoring technique involving notational configuration spaces, Zones of Coherence for solo or multiple trumpets written for Daniel Rosenboom and recently released on a CD of new trumpet works and Twilight Language for solo piano referring to a mystical language of Tibetan Siddahs and written for Vicki Ray, and, in collaboration with director, Travis Preston, Bell Solaris—Twelve Metamorphoses in Piano Theater, a ground-breaking, visual theatrical expansion of this earlier solo piano work into a full-evening production with a live video ensemble.
Rosenboom is author of influential books such as Biofeedback and the Arts and Extended Musical Interface with the Human Nervous System and papers such as Propositional Music: On Emergent Properties in Morphogenesis and the Evolution of Music; Essays, Propositions, Commentaries, Imponderable Forms and Compositional Methods, Improvisation and Composition–Synthesis and Integration into the Music Curriculum and Collapsing Distinctions: Interacting within Fields of Intelligence on Interstellar Scales and Parallel Musical Models. He is also coauthor with Phil Burk and Larry Polansky of the widely used computer software environment for experimental music, HMSL (Hierarchical Music Specification Language). Currently, he is working on a book about compositional models, entitled Propositional Music, and other writings in interdisciplinary topics combining music with neuroscience, cognition, self-organizing systems, evolution, theoretical physics and possible forms of intelligence.
Future travel is a 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.
From: http://music.calarts.edu/~david/bio/short.html
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