"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."

Co-producer. 2 CD's, opera recording, Elektra Nonesuch, #79289-2, New York, 1992.

[PDF AVAILABLE FOR DOWNLOAD] Abstract for a talk. The Journal of the Acoustical Society of America, 92, 4, 2, 2403.

[PDF AVAILABLE FOR DOWNLOAD] In Scholz, C. (ed.). Frog Peak Anthology. (Hanover, NH: Frog Peak Music). Also in Leonardo, 6,4, (1993), 273–274.

In Proceedings Of The 1992 International Computer Music Conference. (San Francisco: International Computer Music Association - ICMA.)

[PDF AVAILABLE FOR DOWNLOAD] In Brooks, I. (Ed.). New Music Across America. (Valencia and Santa Monica, CA: California Institute of the Arts and High Performance Books), 66-70.

In collaboration with Charlie Haden and Trichy Sankaran, improvising trio with two Yamaha Disklavier pianos, pitch follower and event triggers, HFG (Hierarchical Form Generator) computer software, and three computer music systems responding to piano, bass and South Indian mrdangam.

Developed in collaboration with Anthony Braxton, duets for MIDI grand piano, responding piano controlled by computer, with sopranino, soprano, and alto saxophones, clarinet, and flute; each piece is guided by particular interactive structures and musical shape transformation vocabularies implemented with HFG (Hierarchical Form Generator) software.

Pianist and interactive computer instruments. CDCM Series, Vol. 10, (CD), #CRC 2110: The Virtuoso in the Computer Age, Centaur Records, Inc., Baton Rouge, LA, and Consortium to Distribute Computer Music, Dallas, TX, 1991.

In Sound & Images, Conference Report, Program For Art On Film. (New York: The Metropolitan Museum of Art and the J. Paul Getty Trust), 22-23.

Composed in 1966 for two percussionists; piano/celeste, cello and alto saxophone that have duplicate parts for computer sound spatialization, and conductor; on The Virtuoso in the Computer Age, Centaur Records, Inc., CDCM Series, Vol. 10, #CRC 2110, Baton Rouge, LA, and Consortium to Distribute Computer Music , Dallas, TX, 1991, [CD]

For soloist with MIDI keyboard or pitch follower, HFG (Hierarchical Form Generator) computer software, and automatically responding instruments; an adaptive extended instrument is created, which parses improvised musical material that can not be predicted in advance by employing a partial model of musical perception modeled in software.

Documentation of the first performance using HFG (Hierarchical Form Generator) interactive software for improvisation, recorded at the Western Front, Vancouver, using MIDI piano and computer, video.