If Nothing Is At Risk, Nothing Is

Certainly Being In California Has Encouraged A Sustained Commitment To Rethinking The Nature, Purposes, And Relevance Of The Contemporary Arts, Specifically Music, For A Society Which By And Large Seems To Manage Quite Well Without Them.

When I Left Europe In 1987 I Did So With The Thought That My Relevance As A Composition Teacher Would Benefit From A Certain Cool Distance To Certain Tendencies I Had Been Observing For Several Years With Increasing Disquiet.

When I Speak Of "cycles," I Am Referring To Lengthy Intervals Of Relative Homogeneity, If Not In The Resolving Of Problems, Than At Least With Respect To The Consistency Of Their Capacity To Productively Irritate.

In My Model, Important Interference Phenomena Arise When Individual Strata Come Into Contact. These Chaotic Fluctuations Are, I Suppose, What My Music Is Really About.

I Dont See Lines Of Force As Being Destructive, Except To The Extent That They Are Exclusively Traceable Through Observance Of The Path Of Distorted Material Left In Their Wake.