General Management
Keren Rosenbaum - a multi-faceted composer, video artist, and interdisciplinary creator and performer.   Keren Rosenbaum, born in Israel, 1970, a talented flautist from a very young age, started composing music at the age of seven. Rosenbaum studied with renowned Israeli composers Arie Shapira and Leon Shidlovski during her studies at Tel Aviv University. She continued developing her distinctive style at the Royal Conservatory, The Hague, where she studied composition and electronic music with Gilius Van Bergeijk, Diderik Wagenaar, Roderik de Man, Clarence Barlow and Louis Andriessen. At the age of thirty she started to take the cello seriously and now mostly plays that instrument during her performances.   In her music, Rosenbaum employs pre-recorded soundtracks, live electronics, contemporary notation, and her signature conducting-via-earphones technique. While structured and choreographed, the music allows for a degree of freedom that both provides room for personal expression and demands a higher sense of aesthetical responsibility from each performer. Rosenbaum tests the ‘prerequisites’ of traditional harmony and melody, and offers a no less aesthetic alternative, using strong lines, repetitions and textures, combined with a striking visual performance.   Rosenbaum refuses to be categorized as a composer, she believes music must become a new form of expression and by triggering movement and visual elements she creates compositions that become live sculpures. In the past few years, she collaborated with Ink Boat and San Francisco based theater and movement company, as well as performing with jazz musicians all over the world. (Maya Dunietz, Noa Frenkel, Fabienne von Ike & Danny Felsteiner, Ram Gabai, Shahzad Ismaily, Cassie Terman, Shinichi Moma Koga, Cristin Wildbolz,Kai Takai and many more.   In early 2001, Rosenbaum was invited as guest artist by the renowned "Rijksacademie" in Amsterdam to work on the video art for her upcoming opera "Chat", scheduled for 2006 in New York. The same year she was invited to attend the 10th "International Musikwerkstatt 2001", followed by two performances of her pieces in Berlin. In 2004 Rosenbaum debuted “Contra Voice” for bass solo and electronic soundtrack, performed by Swiss bassist Cristin Wildbolz, as part of a worldwide tour, in collaboration with the Electronic Music Foundation (EMF).   Two years ago her composition Inbetween was recognized as one of the leading compositions in a new notational concepts in the book Notation21, Ms. Theresa Sauer ( her work was presented in an ongoing exhibition and concerts in the US and Europe. Rosenbaum's work is often described both by listeners and performers as passionate inventive, on the edge, would make you feel/think/experience something to stay with you for long time.   After directing and producing "New Voices", the first interdisciplinary festival in Israel, she founded the body that would become the main vehicle for her musical and artistic vision – the Reflex Ensemble, a unique collective of classical musicians (including players from the Israeli Philharmonic and the Tel Aviv Opera), jazz musicians and actors, as well as lighting, sound, photography and video artists, from Israel and Europe.   The ensemble embodies the vision of “the new orchestra”, which challenges the old-school classical music tradition in its focus on performance, openness to new technologies, incorporating lighting and sound artists as equal members, and choosing not to stage its performances in concert halls.   Rosenbaum’s work with Reflex, as well as with other acclaimed performers, have established her as a prominent force in the Israeli, U.S. and European contemporary music scene.   For more information on the Reflex ensemble, please visit
Reflexive Music
“When visitors to Picasso’s studio asked him: “What is that? Does it rest on a pedestal? Does it hang on the wall? Is it a painting or sculpture?” Picasso simply responded: “It’s nothing, it’s a guitar!’”
So when people ask: “What should I be using, my ears? My eyes? What is it? A dance? An act? Music?” I say: “it’s simply a tango, it’s my personal tango!!!””
Reflexive music is a musical structure provoking a relation where elements of different mediums are self-related and still in perfect sync with its opposite elements.
In art it is common to have an interaction of more than one medium. Most of the times if not always it will produce one medium as more dominant than the other. In reflexive environment each medium is in a relation with itself and at the same time in a relation with its counter medium they become equally important, each of the participating parts is irreplaceable and therefore non-separable.
In my research over the past 15 years I discovered that in order to make the different mediums create this type of reflexive relation there must be a very streaked set of rules, structure and moment of perfect synchronization.
In reflexive music we have demonstrated that the score and the triggers create those moments of streaked synchronization and at the same time keep the freedom of the medium to be expressed.
The result is perceived by the audience as a complete unity of the mediums where no one is dominant and both are inseparable.
(two important phrases that were used re reflex and reflexive music: “keren is creating traps for musicians”, “we are still composing sounds, you are composing people…”
summary from interviews, Keren Rosenbaum about Reflexive Music,

Keren Rosenbaum

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