I noticed things in my computer music that were getting old, and I started to figure out that this has to do with the way the listener interacts with music.

I found myself recycling ideas and I saw that I had to invent reasons to compose a piece rather than start from some exciting idea.

I came up in the '60s; that was a time when there was a revolution going on in music. Stravinsky had become a twelve-tone composer; even Aaron Copland was writing twelve-tone pieces at that time!

I didn't want my music to be seen as examples of an electronic culture; I just wanted them to be thought of as pieces of music.

I noticed things in my computer music that were getting old, and I started to figure out that this has to do with the way the listener interacts with music.

I was hired for a really excellent academic job early in my life; I was twenty-five when I started at Princeton and I got tenure early on. I really didn't deserve this; I just happened to be in the right place at the right time.

I think you'll find a significant number of people who decide not to enter competitions because their music just won't fit in that world.