I'm thinking of the audience as being ambient, meaning not sitting focused but being in the space and exploring it while listening to the players.

[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.

The mission [of institution] won't change. It will continue to be what it is: to spread the practice of deep listening and introduce it to people, to do workshops and retreats and certification programs and so on.

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.

Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening

That's software in the States that I helped to develop. It enables people with disabilities to improvise.

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.