As a matter of fact, I personally would much rather hear Perotin than Mozart.

It's very important for any artist, in any field, to take their own temperature and check out their own energy, and see what it is they ought to be doing to keep the energy up. Because if your energy is not up, you're going to come up with some really dreary piece of work that no one's going to enjoy.

I discovered that the most interesting music of all was made by simply lining the loops in unison, and letting them slowly shift out of phase with other.

I'm not making any absurd comparisons between myself and Bach, but I aspire to that, that my music will have the legs to survive whatever context it finds itself in.

Up to the age of 14 I had not heard a note of anything before 1750, never heard a note of Bach, never heard anything after Wagner, and never heard any real jazz.

in serial music, the series itself is seldom audible... What I'm interested in is a compositional process and a sounding music that are one in the same thing.

In the pop world, instead of saying I want to get an album by such and such a group, it's I like this particular tune and that one I like less. I think it's much better to get involved with an artist instead of riding up and down the works you like and disregard the works you don't like.