With repeated listenings, a piece eventually becomes its own being. I very often say to students that this is like meeting a person for the first time. When you first meet someone, you reference that person with others who are similar; but, as you get to know that person better, you begin to understand his unique qualities.

I've been really fortunate to have Bridge Records interested in publishing my music for the past 25 years. Most of my music is available in their catalog.

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

Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.

The experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.