Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.

It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.

In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really about.

In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.

There would seem to be a limit, even for an art preoccupied with boundaries and transgressions, beyond which a work reaches its breaking point and becomes an actual failure, a mere experimentation.

I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go.

Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.