"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."

Self–organizing, interactive multi–media chamber opera for two performers with computer music systems capable of measuring auditory event–related potentials (ERPs) from their brains, two improvising musicians, narrator, computer performer(s), computer–controlled laser disk video projection, slide projections, pre–recorded voices, OBI software written in HMSL (Hierarchical Music Specification Language), and real–time digital synthesis system.

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.

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.

In collaboration with Trichy Sankaran, for South Indian mrdangam and a computer music system that responds to the changing complexity of variations played on a rhythmic cycle and using sound samples of basic drum strokes transformed through digital signal processing to build a real–time accompaniment for the mrdangam performance.

[SCORE AND PARTS AVAILABLE FOR DOWNLOAD] A long, fast, angular, single line to be played by two or more instruments; parts in Treble Clef C, Bb & Eb, Bass Clef C and Rhythm; options for arranging an ensemble with soloists described. Explores ideas about stability and instability, superimposing multiple simultaneous interpretations, and adventurous musical sportsmanship.

Computer assisted synthesis and processing systems, environmental recordings, keyboards, violin, auxiliary sound objects, and sampled sounds; underlying narrative derived from mixing three ways of viewing the evolution of language.

[SCORE & PARTS AVAILABLE FOR DOWNLOAD] A virtuosic trio with Introduction; Themes and Transformations for violin, piano and percussion inspired by ideas of morphogenesis and evolution.

[NEW SCORE FOR DOWNLOADING COMING SOON!] Concert-length work in five parts for percussion soloist with live, computer assisted electronic music system, auxiliary keyboard and melodic instrument parts. New double-CD recording is currently in process and scores will be posted soon.

Melodic materials derived from the techniques of Zones of Influence for elaboration through improvisation with computer assisted keyboard instrument.

Computer controlled MIDI synthesizer ensemble.

For Eugenio Tellez, electronic process on the Internationale, recorded in the composer’s studio; edited version released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, [cassette]; complete version released in digital form on Roundup Two, Selected music with electro-acoustic landscapes (1968-1984), Art Into Life, Japan, 2012, [2-CD set].