I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.

When you have performers, there's the uniqueness of live performance and what performers do in concerts.

I think of myself as experimenting with different ways of structuring pieces. A lot of it has to do with the computer, of course.

I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.

I had been creating music on tape that was to be listened to as a recording, rather than through performance.

I think of myself as an experimentalist even though much of my music sounds logical and normal, in a sense.

There are, however, composers whose music can only be heard in a chromatic sense. George Perle, for example, wrote pieces that you might think of as leaning in a tonal direction but it's very hard to register a pitch as, say, the sixth degree of a scale, whereas in much of my music I think that's often relatively easy to do.