I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

Traditions are imploding and exploding everywhere - everything is coming together, for better or worse, and we can no longer pretend were all living in different worlds because were on different continents.

There's almost no content in terms of language at all. I don't like using language to convey meaning. I'd rather use images and music.

If you don't have a basis on which to make the choice, then you don't have a style at all. You have a series of accidents.

What came to me as a revelation was the use of rhythm in developing an overall structure in music.

My biggest problem about writing is whenever I write piano pieces, because I then have to learn to play them, which is sometimes not so easy.

I'm interested in what happens to music when other people use it. Whereas there are composers who don't like anyone to touch their music, I think people should because they do things I can't think of.