Very often, when you're listening to a piece for the first time, you're listening through a model of other pieces that you know. At a certain point, a piece becomes idiosyncratic and you start to understand it on its own terms.

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

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 wrote a lot of software to do various kinds of special things, and I loved the idea of composing pieces in an electronic studio.

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 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!

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