If Nothing Is At Risk, Nothing Is

The Western Musical Canon Came About Not Merely By Accumulation, But By Opposition And Subversion, Both To The Ruling Powers On Whom Composers Depended For Their Livelihoods And To Other Musics.

Hence My Obstinate Emphasis On Stylistic Continuity From Work To Work Rather Than Specific Sibling Relationships Between The Individual Work And Other Members Of Its Stylistic 'family' In The World Outside.

What Makes A Specific Quality Or Quantity Of Innovation Retain Its Intense Newness Over The Years?

I Frequently Compose Out The Entire Metric Structure Of A Piece In Modified Cyclic Form, Where Each Cyclic Revolution Undergoes Some Form Of 'variation' Much As If Measure Lengths Were Concrete Musical 'material.'

The Idea Of 'machine Assemblage' Is, Especially, Very Alien To My Sensibility, Since It Suggests A Relative Indifference Of The Strata To One Another During The Process Of Construction.