Dal 1970 (ovvero dal pezzo Brainwave Music, 1976, seguito da On Being Invisible, 1977), Rosenboom studia invece neurofisica e feedback con l'obiettivo di produrre musica per onde cerebrali (sulla falsariga di quanto fatto da Alvin Lucier): Portable Gold And Philosophers' Stones (1972), per esempio, elabora al computer le onde cerebrali, le temperature corporali e i movimenti della pelle di quattro "esecutori". Il primo Piano Etude usa le onde cerebrali dell'"esecutore" per alterare una frase pianistica che verrebbe altrimenti ripetuta all'infinito. Due libri documentano le sue ricerche in questo campo: "Biofeedback and the Arts" (1976) e "Extended Musical Interface with the Human Nervous System" (1990)

Zones Of Influence (1985), la sua opera piu' ambiziosa, ispirata dalla teoria delle catastrofi di Rene' Thom, e' suddivisa in cinque parti ciascuna delle quali e' suonata da un computer e da un insieme diverso di percussioni (tamburelli, marimba, xilofono, metallofoni).

Collaboration in Performance (1750 Arch, 1978) contains And Out Come the Night Ears and How Much Better if Plymouth Rock Had Landed on the Pilgrims.

A Live Electro-acoustic Retrospective (Slowscan, 1987) contains And Come Up Dripping (1968), Trio II (1978), In the Beginning I (1978).

Invisible Gold (Pogus, 2001) contains Portable Gold And Philosophers' Stones (1972) and On Being Invisible (1977).

Other compositions include: Septet (1964) for trumpet, French horn, trombone, violin, viola, cello, piano; Sextet (1965) for string quartet, flute, and bassoon; A Precipice In Time (1966), a quintet (two percussionists, piano, alto saxophone, cello) with computer processing; Then We Wound Through An Aura of Golden Yellow Gauze (1967), a John Cage-an game of creating a score out of a symbolic structure; the theater piece She Loves Me She Loves Me Not (1968) for electronics, percussion, spoken text, light system, slide projectors, mimes, and a piano with lid removed; How Much Better If Plymouth Rock Had Landed On The Pilgrims (1969) for unspecified instruments; The Seduction of Sapientia (1974) for viola da gamba and electronics (whose melodies are derived from the overtones of the viola); Is Art Is (1974) for variable ensembles; Suitable for Framing (1975) for two pianos and South Indian Mrdangam, documented on Suitable for Framing (april 1975); the concert The Naked Truth (1976) for performance-art ensemble; Trio I (1976) with Richard Teitelbaum and Michael Byron; Trio II (1978); In The Beginning (1978-81), a series of nine works for soloists, chamber ensembles, orchestra and electronics; Future Travel (1981) for computer, electronics and acoustic instruments (one of the first albums composed almost entirely with a digital synthesizer); Zones of Influence (1984-85), for percussion soloist and computer instrument; the electronic dance piece Systems of Judgement (1987), again created with interactive software; Roundup (1987), an anthology of live electro-acoustic works; the dance piece Systems of Judgment (1988), for keyboards, violin, sound sounds, sampling, digital synthesis (i.e., computer) Extended Trio (1992) for improvising trio (piano, bass and mrdangam) and software; Attunement (1999) for multiple voices; Seeing the Small In the Large (1999) for orchestra; the "concerto grosso" Naked Curvature (2001) for chamber sextet, whispering voices, sound effects and interactive software; etc.

The "self-organizing" opera On Being Invisible II (1995) involves two performers, each equipped with a device that captures their brain activity, two improvising musicians, a computer-controlled video, voice tapes, a real-time digital synthesis system: the sequence in which texts, sounds and images proceed is determined by the brain processes of the two protagonists. This piece stands as a summation of decades of experiments in interactive performance and multi-media art.

Two Lines (Lovely, 1996) are piano-sax duets with jazz saxophonist Anthony Braxton. Most of Rosenboom is inspired by biology, and the cascading piano notes of Lineage (contrasted with harmonious, fluttering saxophone or flute cycles) do evoke movements of nature. The frantic, fibrillating piano-sax noise in Enactment feels like a multitude of insects or bacteria moving around in their nest. Transfiguration is cool jazz for the computer age: the mathematical algorithm of the piano and the saxophone build up to an electrifying sequence. On the contrary, Transference is all tender and slow emotion and lethargy. The math is still at work, ceaselessly weaving relationships between notes, but the human element now prevails.
The lengthier piece, Two Lines (1989), 26-minute long, exhibits an almost classical composure, despite the fact that it originates from a stochastic method (amplifying the microscopic glitches of a superficially static drone). Initially the piano and sax exchange compliments in a somewhat shy and restrained manner. Then Braxton switches to the flute and the two instruments engaged in a heated debate, with the piano on the dissonant side and the flute on the melodic side of the equation. No sooner does Braxton return to the sax that the unity collapses into a series of skewed fractals. At about eleven minutes, Braxton duets with himself by alternating between instruments. When he settles for the saxophone, the music returns to the frenzied buzzing of Enactment. Eight minutes from the end, the music pauses and then restarts more chaotic, even borrowing the first notes of Beethoven's fifth symphony.

Emblematic of his ever more complex processes of composition/performance is the piano sonata Bell Solaris (1998), in which the pianist's playing triggers a piano played by the computer.

Four Lines (2001) incorporates both improvisation and the brain activity of two performers who are performing Rosemboon's own On Being Invisible II .

Brainwave Music (EM Records, 2006) collects music for brainwaves (and sometimes piano) dating from the 1970s: Portable Gold and Philosophers' Stones (Music from Brains in Fours) (1972), Chilean Drought (1974) and Piano Etude I (Alpha) (1971).

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