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

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.

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've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.

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

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!