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.'

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.

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

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.

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.

Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.