The best critics leave the reader curious to pursue something further, but still to let the reader have his or her own honest, unique opinion.

My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.

A critic can serve as guide. I think there's an understanding amongst the public that critics have their own preferences and dislikes.

The best results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.

I don't think the role of the critic has changed very much. In the most positive sense, the music critic is one who helps the public navigate what's out there, especially in bringing attention to things they otherwise wouldn't hear about, or to provide a new window into something familiar.

A healthy dialogue is always good.

There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.