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.

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.

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 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.

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.

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

I don't care how much people understand what it is that I'm doing, except if they're players in my ensemble or other ensembles. I just want people to be moved by the music. If you're not moved by the music, then everything else falls away. You're not interested in the text, you're not interested in how it was done, and you're not interested in interviewing the composer and all the rest of it.