The barn where I work, it's only 15 minutes or so from Harvard square, so It's very close to the center of Boston, but it happens to be a total oasis. It's completely quiet in there.

The one obvious thing is that the devices are so good now that you can also see their limitations extremely well.

There were a lot of things happen in the mid-'80's that all of a sudden made it possible to do a lot of very quick interactive music.

it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.

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

A piano is a machine, but you've got ivory and there's weight behind the keys and you have this really - you feel the resonance in the instrument, you feel the vibration in the pedal. I mean, these a still very crude.

Works of art should be stimulating. They should wake people up rather than acting like a sedative.