One day I decided I would like to put a record into my system. So I picked up a record that was lying on the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in my system and I played with it.

Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

In the beginning we were making tape music, meaning, we were making music on tape.

I feel that students always learn more from each other than they do from their professor. They learn by doing and not by trying to soak up information from one person.

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.

After a long section of the glass playing, you'll hear an instrumental sound emerge from some undisclosed location. There'll be a lot of mystery about the sound, I think.