My perspective on the academic world is very favorable. I did certain kinds of things that I could never have done otherwise.

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'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.

It's very interesting for me to listen to music with my wife. She's not a musician but she very often makes comments about pieces in ways that are similar to what I'm thinking.

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 came to what I think of as the critical problem: the aging process of a piece of music. I noticed in the '70s that pieces I wrote would sound great the first time I listened to them and then on repeated hearings they sounded older and older until what seemed exciting and vibrant on first listening became stale.

I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.