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

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.

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

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

It's very interesting for me to listen to music with my wife. She's not a musician but she very often makes comments about pieces in ways that are similar to what I'm thinking.

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!

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.