This connection with music spurred Rosser to invite his Kansas City colleague Dwight Frizzell of newEar, a contemporary chamber ensemble, to orchestrate a musical response to the paintings in the “Counterpoint” installation. At the exhibition opening, Frizzell and Thomas Aber of newEar produced a largely improvised thirty-minute musical performance, “using the paintings as a score to be navigated in real time.” With both musicians playing zwooms – long hosed-reed instruments that create Doppler effects by imitating a change in pitch from high to low – and with Frizzell also playing clarinet and Aber also playing bass clarinet, the musicians, in Leesa Fanning’s description, “animated the interaction of colors, forms, and rhythms embedded in the paintings.” In Fanning’s estimation, “The musical performance beautifully demonstrated the multidimensional possibilities of Rosser’s installation.”