All of my compositional interests, including the exploration of timbral edges, the building up of new soundworlds from pre-existent ones, and the invention of shapes and stories, start with a fundamental pleasure in sound. As I have become fascinated by the intertwining of electronic and acoustic, my sense of music has grown to include the rumble of machines in a working coal mine, the crunch of a potato chip, the blast of a shofar, the clink of a fork against a cup.

My interest in timbre led me to explore acoustic instruments and as well as computer-generated sound. At the University of Virginia, I established the Virginia Center for Computer Music, and have worked with MIDI systems, direct digital synthesis and the processing of natural-world sounds. My MIDI pieces have been programmed in HMSL (Hierarchical Music Specification Language). In a piece such as Kairos, for flute and electronics, I used HMSL to change effects in real time. The flute's timbre is filtered through a changing environment; even the size of the hall appears to change. My work in direct digital synthesis and processing has been based on several languages: C-Sound, RT, Lisp, and Hack. The last was developed at VCCM by systems engineer Pete Yadlowsky, who also extended HMSL for use in the works mentioned above.

I often mix the worlds of electronic and acoustic music in pieces involving live electronics (such as Hearing Things and Kairos) or pieces combining acoustic instruments and electronic playback (such as Three Summers Heat and Elijah's Chariot). Recently, I have become interested in acoustic improvisatory response to electronic music; my Genesis involves such response to a solo tape piece: Tenebrae Super Faciem Abyssi. Such improvisatory response involves an acute and active listening, with the improvisation an extension of the act of listening. In the end, it is the transforming power of the ear's mind that sets these sounds in their musical contexts.