I got very interested in attention and awareness and how to achieve certain states through understanding this..

I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before th….

I can't really deal with buttons. And that's what I keep saying, "Okay, I can't push buttons, because that means I have to take my hands off the keyb….

The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion]..

I feel that students always learn more from each other than they do from their professor. They learn by doing and not by trying to soak up informatio….

It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals can teach deep listening..

In the beginning we were making tape music, meaning, we were making music on tape..

I think that this performance with the Thingamajigs is going to be an exploration of the acoustic space and particularly the vertical space, which we….

I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations th….

First of all I had to teach myself how to use the studio because there wasn't any classes in electronic music. So I'd stay there all night and leave ….

When I am composing, the sounds are leading me to the way I want them to organize..

It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to….

People's experiences are all different, and you don't know what the person experienced. They know, but you don't, so I think it's important to listen….

Radio broadcasting was only 25 years old when I was born in 1932..

Deep listening is experiencing heightened awareness or expanded awareness of sound and of silence, of quiet, and of sounding - making sounds..

[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something ….

The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment..