Composer, pianist and educator Ittai Rosenbaum was born in Jerusalem, Israel. As a child he lived a few years in Honduras and Bolivia, and now resides in Berlin, Germany. He holds degrees from Berklee College of Music (BM), the Jerusalem Academy of Music and Dance (MM) and the University of California Santa Cruz (DMA).

As jazz pianist he performed with legendary be-bop singer Sheila Jordan, bass players Chuck Israels and Avishai Cohen, drummer Ignacio Berroa, trombonist Phil Wilson and with many leading Israeli jazz musicians. During the late 80s and 90s he recorded and performed with several top pop productions, established (with musician Atcha Bar) one of the first fully digital professional recording studios in Israel, composed and produced scores for dance, theater, television and film, along with much commercial music. He composed, arranged music and produced recordings for various ensembles and large orchestras, a children opera, and composed a song commissioned for the Praemium Erasmianum ceremony at the Dutch Royal Palace in Holland. He was among the founders of Latin-pop Israeli band Atraf, worked with Israeli musician Alon Olearchik, recorded several CDs and performed with pop singer artists Miki Gavrielov Gali Atari, Yoni Bloch, Leah Shabat, David D-or, Yizhar Cohen and Merav Simantov.

Ittai Rosenbaum had founded, directed and produced several musical groups. Among them was the ensemble Ilana Eliya and Jabalio, a group of instrumentalists and singer performing mainly interpretations of music from Kurdistan. He produced and arranged music for the band's CD and for live performances, and had toured with the group in Italy, Germany and France. His group the Yellow Submarine Ensemble (YSE), performed at major Jazz festivals, recorded two albums, and hosted many eminent Israeli and American musicians, including singer-song-writers Yoni Rechter and Shlomo Gronich.

Four CDs had been released under his name: The Yellow Submarine Ensemble (jazz, 2000), Solika (jazz fantasies on Ladino songs for a ten-piece ensemble, 2008), Music From the Chamber (chamber music, 2009), Between Waters and Waters (suite for varying ensemble and a narrator, in collaboration with poet Liat Kaplan, 2009).

Ittai Rosenbaum had established himself as a master educator and many of his former students became leading musicians, mainly, but not only, in the realm of jazz (see links). Since the 2000s, along with studio teaching, he has been teaching composition, jazz, orchestration, theory and ear training at the University of California Santa Cruz, the Jerusalem Academy of Music and Dance and at the Tel-Aviv University. He initiated, led and established many educational programs and projects within the high school music-education system in Israel, participated in committees of the Israeli Ministry of Education, and was occasional consultant for the National Superintendent for Music Education. During the years 2003-2013 Rosenbaum had instructed and directed young musicians at the Jerusalem Music Center Program for Outstanding Young Musicians. In 2011 he was commissioned by the JMC president, maestro Murray Perahia to design a jazz course for classical pianists, a course that was led by Menachem Wiesenberg in the following years.

Among his teachers were Liz Magnes, Ray Santisi and Christian Jacob (jazz piano) Emanuel Krasovsky, Susan Cohen and Eduard Bedner (classical piano), Mark Copytman, John Bavicci, Menahem Zur, Haim Permont, David Evan Jones, Larry Polansky and Hi Kyung Kim (composition), Bat-Sheva Rubinstein and Erez Rapaport (theory and ear-training), and Herb Pomeroy, Phil Wilson, Richard Evans, Bob Freedman, Bud Billings and Dennis Grillo (arranging).

His doctorate dissertation composition Ilinx for percussionist and ensemble was performed in December 2014 at the University of California Santa Cruz by percussionist Aiden Mckee. The work is an experiment based on research of phenomenology of gestures, theories of perception (particularly of gesture and space), and performance studies within different disciplines, including sociology, sociolinguistics and anthropology. The score asks the musicians to incorporate deliberate, exaggerated physical movement in their performance, and projects the connections between sound, movement, space and objects.