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

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.

Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.

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.

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

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!

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.