Sometimes one can be so closely involved with things that the larger context is lost to view.

Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.

By reason of weird translation, many such sets of instructions read like poems anyhow.

I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'

The past nine years in San Diego have represented such a period of questioning.

In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.

When I left Europe in 1987 I did so with the thought that my relevance as a composition teacher would benefit from a certain cool distance to certain tendencies I had been observing for several years with increasing disquiet.