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.

I felt a challenge to compose music. That's where my challenge was, for the most part.

I'm currently very impressed with the level of understanding and of interest in listening that I experience wherever I go. That motivates me to dig deeper into what I've been doing all of this time, to find new ways and also to get over the thought that it's not happening.

The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation of how to produce it and place it so that it works in a space. The first consideration is adopting the space and having work that resonates in the space.

The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].

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.

That change happened about 1991. It was not possible to transfer the Expanded Instrument System to the computer until then, when 16-bit recording became available.