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 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 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 don't think of my music as being about something.

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

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.

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