All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can think of except very modern music.

It takes time because the habitual response to that is very deep. It goes back to our earliest responses as babies. You have to feel safe, and if a sound is threatening, you're going to be upset. There are those early responses, depending on how and what kind of experiences you had.

My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.

Working in theoretical systems can take away the juice. It can also be very beautiful, but when you're trying to satisfy a theoretical principle rather than a sonic reality, then it can become dry.

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.