The musical culture in the United States has no doubt suffered severe setbacks, especially in funding, since the early 2000's. However, I've been amazed at the resiliency of those involved with contemporary music in this country. I think composers and those dedicated to contemporary music have reacted with tremendous creativity and resourcefulness.

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

The American new music scene is remarkably vibrant.

George Rochberg once said that 'to be a composer, you need to have fire in the belly, fire in the brain, but most importantly, an iron stomach.' I feel this is for the most part true, and hope I might convey something of it to younger composers.

I do believe young people should be obligated to try different types of music - that is what education is. But once you're in a situation as an adult, it doesn't benefit anybody - at least in my experience - to force music on people that they don't like or do not have an interest in - whether it's three-hundred years old or newly written.

Of course, all people have their own reasons for believing what they do about gender. In my case, in over two decades of collaborating with men and women in music - conductors or otherwise - I have seen no distinction.

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.