Well when I was young, when I was very young, when I was a little boy I don't remember the music I heard, but there was an article in the Brooklyn Daily written by my Aunt about how I could choose phonograph records.

Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.

Right at the end of the war I wrote a piano sonata, which was written at a time when Sam Barber used to come down here and we used to have lunch together in a very nice old hotel that's now not there.

Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

The first thing that struck me about contemporary music in general had been thatthere was not much interest in rhythm.

That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.