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Well, let me, first of all, say, that as a microtonal composer, I've never been much of a theorist.

I've just simply used what I've used because of the great, great expressive potential of it.

The way that I got involved with microtonal music was, frankly, through jazz.

I'm thinking in terms of a point of departure, a field of action for performers to express an expressive need of mine which hopefully the context of music would convey.

We need it to capture the energy of contemporary life.

In other words, I think that if an audience listens to something as an experience of how in tune it is or something of that kind, that the whole point is somehow being missed, and the music has failed.

Nevertheless, one doesn't have time to think, oh, well, this is a quarter tone sharp, or flat.

I really write for people.

It's not important to me to found a school; it's not important to me to have disciples.

I think one of the greatest enemies in the use of technology, however, is the idea that if you use the technology you have to throw other things out of the window.

I think I was first to do live performances on a modern electronic sound synthesizer.

I want the audience to be so involved in the sweep of the music.

I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.

I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear to the American audience, at any rate, exactly what is going on.

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