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 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.

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.

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

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.

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.

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.

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.

All music does come from a time and place. I was born and raised in New York. I moved out of New York, but it's inside of me and it will be inside of me until they put me in a box in the ground.