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

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

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.

If the music has a logic of its own - as I think my music has - an open-minded listener will apprehend and understand.

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'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.