My mother brought home the accordion in 1942. I was fascinated and wanted to learn to play it. Some of my music has a relationship to dance styles - The Well and the Gentle or The Wanderer for example.

In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.

Listening is selecting and interpreting and acting and making decisions.

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.

In my Deep Listening class at RPI, I always do an hour of energy exercises to start with. Then we do a listening meditation after that, after the body has been loosened up and warmed up and is ready. We do the listening. After that, there's the journaling of the experience, which they do each time throughout the semester to the point that I have them write a final paper on what they've experienced.

I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.

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.