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

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

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

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.

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