Perhaps 25 to 50 years from now, I can design a piece of music, no so that it appeals to something common in millions of people, but I can design the music so that it's exactly right for you and only you at this particular moment for your particular experience, things that have happened to you over 20 years, to you're particular mental state right now.

One of my interests in music has always been what it means, why it affects us the way it does.

I think in many ways, the texture of technology actually diminishes human beings. It doesn't augment them.

I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.

There's many reason music exists and we are beginning to no only understand that, but measure that.

I did take composition lessons when I was in high school, so I wrote piano pieces. I wrote some chamber music. I don't think any of that was particularly interesting.

The way I listen to music goes in waves depending on a lot of things. How busy I am, if I'm in between composition projects, if I'm starting a new project. So, the only time I listen to the radio for music is with my daughter's when I'm driving them to school, or driving them somewhere.