What I don't want to do is to go and buy a bunch of exotic-looking drums and set up an Afrikanische Musik in New York City.

I write music, and I want people to listen to it and care about it and have it make some difference in their lives. When I'm fortunate for that to happen, then of course I feel very, very good about it.

I've learned over the years that geography is not that important, except that I seem to work better in the country than the city. I get more done. There's just less happening around me, and I have more time and concentration to work on music.

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

What I don't want to do is to go and buy a bunch of exotic-looking drums and set up an Afrikanische Musik in New York City.

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.

All great music is contemporary. If it's still alive and kicking, then it's contemporary. If it fades away, it was a period piece. It had its moment, and that was it.