Everything behind my music has a theorectical basis. From the titles, to the chordal structure, to the rhythms, there are theories behind it all. Sometimes these theories reference other modern theories, sometimes they just spring from something I think is humorous, or something I think is meaningful in a basic heartfelt secular way, sometimes something in a spiritual way.

It's important to realize that generative inspired music is not the only music that I make, not the only music that I feel is necessary that I make. It is a type of music that I find interesting and aesthetically pleasing. It doesn't always fulfill all my needs in work, but it often allows elements of the unknown and impossible to enter into music. By generative I mean music that is somewhat based on chance, or randomness.

All great music that benefits humanity in some way "caresses" the listening. In some senses, it is a loose use of the word "caresses", in some ways it is a very literal use. Bach's music often caresses the listening in the same way a lover would caress the listener. Sometimes a massage can be a bit painful and therapeutic, but my belief is that much of the anti-aesthetic and dissonant music produced after the 1950's was really not much of a benefit nor a true intellectual exercise.

The purpose of my music therefor is not to merely create beautiful music, but to create beautiful music that has not been already created. To do this would take an tremendous amount of time without using elements of chance.

For myself, a large part of my musical career and effort has being staying in the state of mind and cultivating the kind of life that could produce the feelings that would manifest in the music I wanted to create. I saw that no amount of training could produce this quality in music. In fact, it could be inevitable that under duress of training I could have these states of mind "bred" out of me.

Some may not see fully that to create new music that sounds pleasant and is in some way different than all music that came before is an end in itself. It is more important to us to do this, then it is to be lauded by our contemporaries. There is an inner guide in us that lauds us when we create this music that is mightier than the words of our contemporaries.

Music is the language of heaven that simultaneously is also the language of psychology. If you can get music to move in a new powerful and simultaneously pleasing way, you have improved psychology.