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 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!

Sometimes I imagine that there's a binary division going on in contemporary practice that has to do with chromatic versus diatonic. I notice that I tend to listen in a diatonic sense, that I register a pitch as a member of a diatonic scale, even in a non-tonal context.

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

I think of myself as an experimentalist even though much of my music sounds logical and normal, in a sense.

I was very fortunate to be at a wealthy institution. I do recognize the drawbacks and limitations of the academic world but it's basically the world I grew up in and there's no way in which I would have been able to survive in the so-called real world.

I can't say that there's a common practice that has to do with pitch language or with the way pieces are put together because today, anything is fair game. As far as I'm concerned, my own common practice is a piece that engages the attention of listeners from beginning to end, and doesn't rely on or expect the listener to zone out.