It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.

I thought that it would be interesting to have a mirror and grab a light and shine it around in different ways. It's an analog to the acoustic reflections that we're going to be trying to activate as well.

The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.

Deep listening is experiencing heightened awareness or expanded awareness of sound and of silence, of quiet, and of sounding - making sounds.

[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.

I had a lot of good times. I had a lot of fun. I liked what I was doing, so I just kept doing it. At the Tape Music Center, I was working from midnight to four in the morning. Because then it was quiet, nobody was there, and I could just do my work. I didn't have to fool around.

It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.