Mr. Roseman was a sensitive and scholarly musician who had a warm tone and an impeccable sense of style that made him an authoritative interpreter in a repertory that ranged from Bach and Telemann to the Romanticism of Arthur Bliss and the spikey music of Ralph Shapey. As a composer he maintained an almost classical sense of form, balance and counterpoint within a vital modern language.

Mr. Roseman was born in Brooklyn and played the recorder and flute before switching to the oboe when he was 12. He studied oboe at the High School of Music and Art and the Henry Street Settlement, and later privately with Harold Gomberg, who was for many years the principal oboist of the New York Philharmonic.

Mr. Roseman was the New York Philharmonic's acting principal oboist in the late 1970s. He was also the principal oboist of several freelance orchestras, including Musica Sacra and the New York Chamber Symphony in its early years.

At Queens College, where he earned his bachelor's degree, Mr. Roseman studied composition with Elliott Carter and Karol Rathaus. He also studied privately with Ben Weber and Henry Cowell. His compositions included works for orchestra, voice and various chamber music combinations.

In the late 1950s Mr. Roseman played the shawm, a Renaissance wind instrument, in New York Pro Musica. But he was heard most frequently on the modern oboe and sometimes its lower-pitched cousin, the English horn. He joined the New York Woodwind Quintet in 1961 and the Bach Aria Group in 1981.

He made more than 50 recordings, of which his traversal of the Handel Sonatas and Trios on Nonesuch Records was particularly well regarded.

Besides his teaching position at the Aaron Copland School, which he joined in 1975, Mr. Roseman was on the faculty of the Mannes College of Music, the Juilliard School, Yale School of Music. and SUNY Stony Brook.