My music education was oral. I was resistant to scores and things like that. In Jewish religious music, there are no scores. You learn everything by rote, by ear, by repeating.

I had already been a young singer. And once, as a profession, I was a young singer, what you would call a soprano in England, but I was an alto in singing Jewish music in bar mitzvahs and weddings and synagogues throughout New York City because, after Israel, New York is probably the biggest Jewish community in the world.

I don't like the piano player music of the movies, the Michael Nyman, and sometimes that piano music makes me puke. It's not really romantic. It's just trying to get your Pavlovian juices flowing because it's a technique now.

I never made any money from my music. I don't make that much; I make it flip-flopping between five and ten different disciplines.

There are some people who love being a something, but I also got the gist in the 60's when I grew up that you could be, in the art scene, very diverse.

People never heard bells in Western music sounding really cataclysmic. You hear that more in Russian music or in Asian, Indonesian traditions.

There are pieces that in the history of music that also make me cry. I'm not ashamed to cry.