But 'performing' the composition in real time is the only way it can really exist. My compositions have to do with variations - chains of reactions to situations I create. I set up one situation with the idea that it might generate another. For instance, a suite of records with dissimilar beats can be played simultaneously in more than a single way, producing infinitely different rhythms. I see music as an ephemeral activity.
Sounds disappear in an instant.
Even looped sounds need to be reiterated to be heard. So an interesting situation should lead to something else. Sometimes this might sound like a constant dissolve, other times it's almost like stasis. But there has to be a performance for the piece to exist. Rosenfeld refers to her music in respect to a larger picture that she has named the Fragment Opera, a series of compositions made by recombining smaller compositions.